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77^ Lewis Carroll Society of North America 

Knight Letter is the official magazine of the Lewis Carroll Society of North America. 

It is published twice a year and is distributed free to all members. 

Editorial correspondence should be sent to the Editor in Chief at 

Submissions for The Rectory Umbrella should be sent to 

Submissions for Mischmasch should be sent to 

Submissions for All Must Have Prizes should be sent to 

© 2007 The Lewis Carroll Society of North America 

ISSN 0193-886X 

Andrew Sellon, Editor in Chief 

August and Clare Imholtz, Editors, The Rectory Umbrella 

Sarah Adams, Editor, Mischmasch 

Mark Burstein, Production Editor 

Andrew H. Ogus, Designer 

The Lewis Carroll Society of North America 

Andrew Sellon, 

Cindy Watter, 

Clare Imholtz, 

Annual membership dues are U.S. $35 (regular), 
$50 (international), and $100 (sustaining). 

Subscriptions, correspondence, and inquiries should be addressed to 

Clare Imholtz, LCSNA Secretary 

11935 Beltsville Dr. 

Beltsville, Maryland 20705 

On the cover: Bryan Talbot's hand-rendered pen-and-ink homage to John Tenniel's 
famous Jabberwock image, from Alice in Sunderland, © 2007 by Bryan Talbot. 

See page 37. 




Carroll at Columbia: Third Time's a Charmer 


Spring 2007 Reading 


Speaking of Things Flimsy and Miserable 


Logical Writings by (and about) Lewis Carroll 



Evolution of a Dream-Child: 

Images of Alice and Changing Conceptions of Childhood, 

Part TV: The Mid-Tiventieth Century 


Some U.S. Contemporary Reviews of 
Sylvie and Bruno Concluded 











Edgar Stillman Kelley 


In Memoriam 


Sic, Sic, Sic 

The Builder and the Architect 

Mad Hattr 


Looking-glass Alice 



The Henry Altemus Company 


Lost Girls 


Alice in Sunderland 


A Town Like Alice's 


LCSNA Remainder Sale 




Academia — Art & Illustration — Articles 

Auctions — Books & Comics — Cyberspace 

Movies & Television — Music — Performing Arts — Places 

^^^^^s the new Editor in Chief of the Knight Letter, 
^_^A let me defy the King of Hearts and begin at 
JL m.the ending (after all, the bowsprit does get 

mixed with the rudder sometimes) by extending my 
heartfelt thanks to Mark Burstein for over 12 years of 
dedicated service in this post. As you read this edito- 
rial, picture me lying on my fainting couch (and yes, 
we have one), fanning myself with the final set of revi- 
sions, trying vaguely to regain strength after my share 
of the labors in producing just this one issue. I don't 
know how Mark did this for all those years on top of 
his "other" life, but I doff my editor's visor to him. 
Happily, Mark and the gifted Andrew Ogus are still 
on board, overseeing design and production. 

Having learned a few things from my other life 
(or rather, one of them), I have gathered around me 
a frabjous team of editors to share the joyful task of 
producing the Knight Letter. August and Clare Imholtz 
now jointly helm the Rectory Umbrella section, and 
Sarah Adams has taken on that octopus of content 
known as Mischmasch. And we still look to Devra 
Kunin and Matt Demakos when we need attention 
to stylistic detail, and to Desne Ahlers for final proof- 
reading. In addition, based on survey feedback re- 
ceived so far (yes, I really did read every word of every 

survey submitted and will continue to do so), I have 
asked Joel Birenbaum to join our merry crew as editor 
of a new section on collecting and collectibles. And 
Clare's new column with member news and informa- 
tion also debuts in these pages. Our hope is that these 
new sections will provide you with even more reading 
enjoyment, and an even broader understanding and 
appreciation of the many ways our members celebrate 
the life and works of Charles Lutwidge Dodgson. With 
this exceptional crew on deck, what, you might ask, do 
/do? Tingle my bell, mostly, while occasionally shout- 
ing out helpful instructions like "Feather! Feather!", 
"Less Bread! More Taxes!", and "Off With Their Aster- 
isks!" You've no idea how tiring it is. 

So what's in this issue? August's masterful recap 
of our delightful Spring meeting, the next installment 
of Victoria Sears Goldman's examination of Alice's 
illustrators, a print version of Amirouche Moktefi's 
fine lecture about critical perspectives on Carroll's 
logic, the new sections mentioned above, and — I'm 
overcome again, and must refer you to the Table of 
Contents. Set sail, noble reader. And enjoy. 


Carroll at Columbia 

Third Time's a Charmer 


Columbia University's Butler Library is the 
massive colonnaded brick fortress of a 
building that faces the smaller Greek revival 
Low Memorial Library across the main quadrangle of 
the university, between 114th Street and 120th Street 
in the Morningside Heights neighborhood on New 
York's upper West Side. On entering the Butler Li- 
brary, no matter how hard one listened, one could 
not hear even the faintest echo of the solemn voice of 
Nicholas Murray Butler awarding an honorary Doctor 
of Letters degree to Alice Liddell Hargreaves, since, 
you see, it happened 75 years ago, and the ceremony 
could not have been held in Butler, as it had not yet 
been built. It occurred in Low, with the accompany- 
ing public ceremony held in a now long-removed 
gymnasium. One scholar thinks Alice, the "real Alice 
in Wonderland," as the New York newspapers of that 
time referred to her, said she was pleased to receive 
the degree of Dodo of Letters — perhaps apocryphal, 
but nonetheless mischievously appropriate. 

Through the generosity of Columbia's Vice Presi- 
dent for Information Services and University Librar- 
ian, Dr. James Neal, and the kindness of Ms. Jenni- 
fer Lee, Director of Public Service Programs of the 
Rare Book and Manuscript Library, we were holding 
the Lewis Carroll Society of North America's second 
meeting at Columbia (the first was held on April 22, 
1995, and, mirabile dictu, Andrew Sellon and Michael 
Patrick Hearn were two of the speakers that day). Al- 

ice's 1932 visit, of course, explains our subtitle. For 
this third Carrollian event, some 75 LCSNA members 
and guests gathered in the large first-floor lecture 
room at the east end of Butler on the pleasant spring 
morning of April 14th. 

LCSNA President Andrew Sellon opened the 
meeting at 10:00 a.m. sharp. He thanked Columbia 
University for hosting our meeting and introduced 
Ms. Jennifer Lee, who welcomed us on behalf of Co- 
lumbia University, Dr. Neal, and herself. Next, we were 
to see, courtesy of David Schaefer, the newsreel of Al- 
ice's arrival in New York 75 years ago aboard the Beren- 
garia, but technical problems with the film's progress 
through the Columbia computer system delayed the 
screening of the wonderful newsreel until later in the 
program. David showed a slide of the Cunard Line's 
steamship Berengaria on the screen, followed by one 
of a first-class stateroom on that liner, with, as David 
noted, a life preserver hung over the back of the bed 
(a lingering consequence of the Titanic disaster, no 
doubt). David accompanied his images by reading 
bits from the accounts of this first and only visit of 
the "real Alice" to the United States from his essay 
"Alice's Adventures Overseas," which appeared xnjab- 
berwocky, as the journal of the [British] Lewis Carroll 
Society used to be called, in Spring 1982. 

To begin the day's formal talks, LCSNA Trea- 
surer and Publications Director Francine Abeles in- 
troduced Amirouche Moktefi, a doctoral candidate 


The Butler Library 

at the Louis Pasteur University in Strasbourg, France. 
She noted his important new work on Lewis Carroll's 
logic. Many of us had thought W. W. Bartley had had 
the last word. Not quite, but since the text of Mr. 
Moktefi's lecture on Carroll's logical works and their 
critical reception over the years is printed elsewhere, 
in this issue of the Knight Letter we shall limit ourselves 
to a few observations. 

In 1890, Carroll wrote that he had studied logic 
for at least 40 years, that is, back to his late adoles- 
cence. Mr. Moktefi noted that Carroll thought logi- 
cal precision was very important even for writing ser- 
mons. The Game of Logic appeared in 1887 to mixed 
reviews — "how could this book appeal to children?" 
Symbolic Logic, Part I received better reviews, but was 
neglected by logicians. In the more recent period, 
Peter Geach criticized W. W. Bartley's edition of Sym- 
bolic Logic, Parts L and II, and Peter Alexander was even 
more critical of the philosophical acuteness of the 
books. Logicians and historians of logic have finally 
begun to give Carroll some long overdue recognition. 
In 1979, Edward Wakeling published a small booklet 
on Carroll's logic, and Sophie Marat in France also 
has addressed his logical contributions. But this was 
all by way of background to what Mr. Moktefi has been 
doing. He has not only examined Carroll's letters to 
mathematicians and logicians, but also visited the 
archives of those mathematicians and logicians, and 
in doing so discovered important new materials. For 
example, he unearthed three versions of the barber- 
shop problem not collected by Bartley. He found Car- 
roll's correspondence with Henry Sidgwick of Trinity 
College, Cambridge, in which Carroll asks who were 
the chief logicians at Cambridge to whom the barber- 

shop problem should be sent. And then there is a pre- 
viously little-known letter to an Italian mathematician, 
and so on, to more and more wonderful discoveries in 
this overlooked part of Carroll's life work. 

Our second speaker was Bryan Talbot, who with 
his wife, Mary, had come from England to talk to 
us about his just released book, Alice in Sunderland, 
which he calls in its subtitle "An Entertainment." The 
book — and it is a massive eight-pound tome of more 
than 300 pages — is indeed a brilliant entertainment 
[see Andrew Sellon's review in this issue], and even 
more so, if that is possible, was Bryan's illuminatingly 
illustrated (how could it have been otherwise?) talk. 
He began by speaking a bit about his career writing 
and drawing underground comics, including his 
Brainstorm Comix of the 1970s and perhaps his best- 
known series, The Adventures of Luther Arkwright. Nine 
years ago Bryan moved to Sunderland, after his wife 
accepted a teaching position in sociolinguistics at the 
University of Sunderland, and he became interested 
in doing a work about Lewis Carroll — though exactly 
what that would be was not clear to him at that time. 

Bryan soon found inspiration, however, for there 
are many myths and stories regarding Lewis Carroll's 
visits to Sunderland. It began, it seems, with a walrus. 
In Sunderland's Mowbray Park (just at the end of 
Bryan's street), one can see today a bronze statue of 
a walrus modeled after a stuffed walrus that Captain 
Joseph Wiggins had donated to the local museum 
and that, according to local legend, might have been 
seen by Carroll, and thus might have been an inspira- 
tion for the Walrus in Through the Looking-Glass. Bryan 
rightly noted that the only problem with this supposi- 
tion is that the stuffed walrus was not donated to the 

Amarouche Moktefi 

museum until after the publication of Looking-Glass. 
Carroll was indeed, however, a frequent visitor to 
Sunderland, and the Liddells had connections there, 
too. For many years Carroll spent part of his long va- 
cations with his cousins, the Wilcoxes, in Whitburn, 
near Sunderland. There "Jabberwocky," except for 
the first stanza, was conceived in an evening of family 
verse composition, or so the account goes. 

Talbot's talk blended history — that of Carroll 
and the Liddell family on the one hand and England 
and Sunderland on the other — myth, of which there 
is more than enough to go around, and Talbot's ap- 
preciation and interpretation 
of the stuff of literature and 
legend. And, of course, all of 
this was wonderfully visually 
displayed, for (it must be said, 
for the few who have not al- 
ready bought Bryan Talbot's 
Alice in Sunderland) it is a 
"graphic novel" — a term that 
in Talbot's case might best be 
described as a thinking man's 
comic book and more. 

What are the paths that 
Bryan Talbot follows in Alice 
in Sunderland} First you must 
understand that he is not only 
the narrator, but also a char- 
acter who appears through- 
out the work. We first see him from the back as he 
approaches the Empire Theatre, where the montage 
of history, myth, literature, and biography will play 
out, much like Alice before the looking-glass, and at 
the end of the story we see him facing us as he walks 
away from what he has experienced. Over all, it's a 
nice conceit. 

Here are some tidbits. Beamish is the name of a 
village near Sunderland, and the hero Sir John, who 
slew the Sockburn Worm (a kind of British dragon of 
the North), was Lord Beamish. Moreover, the Liddell 

family for a time owned Beamish, the place, not the 
boy or hero. And that's why Humpty Dumpty never 
explained the word "beamish" to Alice. She knew it 
already! And another bit: the "nickname Mackems for 
Sunderland folk dates from the days of shipbuilding. 
In the accent and spelling used by Carroll in Sylvie 
and Bruno the phrase is: "There's those who mak'em 
and those who tak'em.'" And a prelude: "Here on the 
beach in 1855, a year before he meets Alice, Carroll 
sketches Frederica Liddell, who's staying at nearby 
Whitburn Hall. He tells stories to her, her sister Ger- 
trude, and Alice's other Liddell cousins, stories that 
are most likely later woven into the tapestry of Won- 
derland." And with a grain of salt or sand: "On one of 
[Carroll's] customary walks from his Whitburn cous- 
ins' house to Sunderland, Carroll is said to meet a car- 
penter. They sit and talk, giving rise to the reputation 
of this place as the Walrus and the Carpenter Beach." 
And another observation: "Tenniel's carpenter wears 
the typical box-like paper hat worn by Sunderland 
carpenters to keep sawdust out of their hair." 

Sunderland goes far beyond Carroll, however. 
Also appearing in Talbot's talk were (to give just a 
sense of the connections to Sunderland he covered): 
Henry V, the Venerable Bede, the Hartlepool Monkey, 
Hogarth, the Lambton Worm, and even the Bayeux 
Tapestry (the first British comic strip, and it's actually 
an embroidery, not a tapestry) . While Sunderland is a 

Bryan Talbot 

continuous pastiche of comic book styles, most of the 
pages are more computer-assisted full-page collages 
than traditional graphic novel panels. Well, you just 
have to read it to believe it. 

After an enjoyable if somewhat loud and chaotic 
lunch in the nearby Duchess's kitchen, actually a nice 
little Greek restaurant called the Symposium, with 
several long tablesjust like the one at the Hatter's cot- 
tage, we walked back to Butler for our afternoon ses- 
sion. Before the speakers took their place at the head 
of the lecture room, we did get to see, some of us for 

Michael Parick Hearn and Selwyn H. Goodacre 

the first time, the charming 1932 newsreel of Alice 
landing in New York. 

We then heard two very distinguished annota- 
tors, Michael Patrick Hearn and Selwyn H. Goodacre, 
speaking on the topic "Tell Me Where Is Fancy Bred? 
How Annotators Find the Reality Beneath the Fic- 
tion." A good title, that, playing as it did on Shake- 
speare's line and following fittingly on Talbot's vivid 
demonstration of what bred fancy really can be. 

Michael Patrick Hearn began by speaking about 
his current project to produce an annotated edition 
of Edgar Allan Poe and proceeded to recount how he 
got into the annotation business, what he has done, 
and how he went about doing it. As with many things 
in the little world of our society, Martin Gardner was 
a principal, if not prime, cause. Clarkson Potter, pub- 
lisher of The Annotated Alice, had asked Martin Gardner 
to write an annotated Wizard ofOz, but Gardner, since 
he knew little about the legion of sequels that work 
spawned, declined. Mr. Hearn visited Gardner at his 
home on Euclid Avenue in Hastings on Hudson to 
talk about the proposed book. Gardner lent Hearn 
his own copy of Oz, which of course already contained 
some annotations. The next step was to persuade 
Clarkson Potter to undertake an annotated work by a 
still very young Mr. Hearn, which, through his charm 
and the merit of the case, he was able to do. An in- 
teresting point we learned was that Baum's wife was 
a friend of Elizabeth Cady Stanton and a participant 
in the rising movement for women's rights — which 
seems very appropriate for the wife of the creator of 
Dorothy. The Annotated Wizard of Oz appeared in 1971 
and was reissued in 2000. 

The next work Hearn discussed was The Annotated 
Christmas Carol (1977 and 2003). After the usual thor- 
ough research, conducted this time in London, he 
was able to ensure, with the support of his editor Rob- 
ert Weil at Norton — a man who has for a long time 

also edited Martin Gardner's best-known works — that 
Dickens' public reading text was included in the vol- 
ume, together with the text of the first published edi- 
tion. Hearn followed that some years later with The 
Annotated Huckleberry Finn (2001). To write that book 
he had to immerse himself in state slavery statutes, 
the geography of the Mississippi River and the settle- 
ments along it, the language and slang of the 1840s, 
and much else. 

As an annotator, Hearn never explains words 
that could be found in a good dictionary, though ad- 
ditional senses might be another matter. He tries to 
make the text come alive to readers who do not al- 
ways have the background the author — be it Baum, 
Twain, or Dickens — simply presumed. A famous con- 
temporary Southern author supposedly commented 
that only someone from Mars or Brooklyn Heights 
would need The Annotated Huckleberry Finn. Everyone 
who heard Michael Patrick Hearn explain his craft 
would disagree, and rightly so. 

Dr. Selwyn H. Goodacre began by conveying 
most courteous greetings from the British Lewis Car- 
roll Society before delivering his lecture, a typically 
Goodacrean (which is to say thorough, insightful, 
and amusing) review of the history of annotations, 
some previously unknown to most collectors, of the 
Alice books. School readers seemed a good place to 
start. Appleton published a school reader in 1878 
with both excerpts from the text and questions for 
the pupils to ponder. For example: Can the word 
"wicked" really be applied to kittens? Macmillan pub- 
lished a reader in 1895 with definitions of words such 
as "flamingo" and "griffin," discussion of how the 
latter may be spelled, and the like. In neither Car- 
roll's diaries nor his letters (to Macmillan or anyone) 
is there a reference to this reader. Austin Dobson's 
prefatory poem, that is, his proem (1907 edition, il- 
lustrated by Arthur Rackham), in its verse explica- 

From Alice in Sunderland 

dons offers another form of commentary on Alice. In 
a 1932 reader, one finds further questions for the stu- 
dents: Why doesn't Alice say anything after falling off 
the roof? Do some of the chapter titles function like 
puns? Alphonso Gardner, an author or editor to us 
unknown, offers two pages of notes on meaning, in- 
cluding definitions of some of the harder words such 
as "comfits" and "pretext." Herbert Strong, in 1920, 
added the first full introduction to Alice's Adventures 
in Wonderland, though it's mostly biographical mate- 
rial with little textual analysis. Alexander Woollcott's 
often reprinted introduction in the 1924 Boni and 
Liveright omnibus volume struggles with Dodgson's 
personality, but again little textual analysis is offered. 
In 1931, Richard Herrick provided a new introduc- 
tion in the Dial Press Collected Works. Then there 
followed the Limited Edition Club's edition, with a 
somewhat interpretative introductory essay by Henry 
Seidel Canby. Eleanor Roosevelt, who was not primar- 
ily a literary critic, wrote a three-page introduction 
for the National Home Library edition in 1932, and 
nine years later Kathleen Norris provided a lyrical 
introduction to Alice in the Book League of America 

Eleanor Graham offered a kind of "summary of 
the tale as told" in her essay for the 1946 Puffin edi- 
tion. By the late 1950s, much had been written about 
the origin of the Alice books, their complexity, and 
structure, but much remained to be said, and a good 
deal of it was said by Martin Gardner in his seminal 
The Annotated Alice (New York: Clarkson N. Potter, 
1960). In his introduction, Gardner addresses the 
strangeness of annotating a children's book. 

Let it be said at once that there is something 
preposterous about an annotated Alice. Writ- 
ing in 1932, on the hundred-year anniversary 
of Lewis Carroll's birth, Gilbert K. Chesterton 

voiced his 'dreadful fear' that Alice's story had 
already fallen under the heavy hands of the 
scholars and was becoming 'cold and monu- 
mental like a classic tomb. '...There is much to 
be said for Chesterton's plea not to take Alice 
too seriously. But no joke is funny unless you 
see the point of it, and sometimes a point has 
to be explained. In the case of Alice we are 
dealing with a very curious, complicated kind 
of nonsense, written for British readers of an- 
other century, and we need to know a great 
many things that are not part of the text if we 
wish to capture its full wit and flavor. It is even 
worse than that, for some of Carroll's jokes 
could be understood only by residents of Ox- 
ford, and other jokes, still more private, could 
be understood only by the lovely daughters of 
Dean Liddell. 

The Annotated Alice changed the literary land- 
scape, not only for Carroll studies, by offering them a 
legitimacy previously lacking in the academic world, 
but also for the general reader of whatever age, by 
making clear to us in the second half of the twentieth 
century what was clear to all readers of Carroll's time, 
as well as the more recondite allusions that might 
have escaped even some of his contemporaries. Such 
was the success of the many times reprinted book that 
Martin Gardner brought out More Annotated Alice in 
1990 and the "Definitive Edition" in 2000. Should we 
ever get to heaven, we would probably find the final, 
heavenly edition of the Annotated Alice. 

But back to the chronological course of intro- 
ductory essays. Roger Lancelyn Green's efforts in the 
Dent edition were not representative of his best work, 
but his 1962 Oxford World's Classic edition, with 24 
pages of notes, is quite solid. Horace Gregory in the 
Signet 1960 edition, while making some good points, 

also offers a bit of a psychological portrait. Woodward 
Wyatt offered a short introduction (we did not quite 
catch where Wyatt wrote). Donald Rackin edited a 
compilation of analytical essays in 1969, and for the 
truly quirky, one cannot find a more extreme example 
of Procrustean analysis than Dr. Abraham Ettelson's 
1966 Through the Looking-Glass Decoded and his equally 
creative 1971 Alice in Wonderland: The Secret Language 
of Lewis Carroll Revealed. Thomas Fensch gave a psy- 
chedelic interpretation 
to Alice and her world in 
Alice in Acidland (1970), 
while, at the opposite ex- 
treme, Peter Heath wrote 
a charmingly learned com- 
mentary called The Philoso- 
pher's Alice (1974). Penel- 
ope Lively's introduction 
in the 1993 Everyman is 
quite serviceable. The best 
brief introduction, how- 
ever, for a sense of what 
the Alice books really are, 
in Dr. Goodacre's opin- 
ion, is Morton Cohen's 
15-page introduction in 
the 1981 Bantam Classic. 
Skipping over a few more 
of the well-known essay- 
ists and interpreters, Dr. 
Goodacre mentioned ap- 
preciatively Hugh Haugh- 
ton's interpretive essay 
in the recent Penguin 
edition. As for James Kin- 
caid's annotations to the 
Pennyroyal Alice (for which 
Dr. Goodacre edited the 

text), he referred us to Kincaid's typically provoca- 
tively titled essay, "Confessions of a Corrupt Annota- 
tor," which was printed in the Spring 1982 issue of 

The best real preparation for the annotator must 
be a traditional close reading of the text. Everything 
else is, however delightful, a secondary treat, and it is 
precisely such a close reading that we hope we shall 
someday receive from Dr. Selwyn H. Goodacre. 

Following an entertaining and enlightening ques- 
tion and answer session with both Michael Patrick 

Hearn and Dr. Goodacre, President Andrew Sellon 
thanked all our speakers once more and then turned 
the lights down for a screening of the famous (or infa- 
mous) 1985 feature film, Dennis Potter's Dreamchild, 
which is, appropriately, about the real Alice's visit to 
Columbia to accept her honorary degree for being 
Carroll's muse. Of the many liberties taken by Dream- 
child's director, the actual words of Nicholas Mur- 
ray Butler, which could no longer be heard echoing 

through the campus, were 
omitted from the film, 
and so here they are as an 
appropriate conclusion to 
this meeting account: 

Alice Pleasance 
Hargreaves, descendant 
of John of Gaunt, time- 
honored Lancaster, 
daughter of that distin- 
guished Oxford scholar 
whose fame will last 
until English-speak- 
ing men cease to study 
the Greek language 
and its immortal litera- 
ture; awakening with 
her girlhood's charm 
the ingenious fancy of 
a mathematician fa- 
miliar with imaginary 
quantities, stirring him 
to reveal his complete 
understanding of the 
heart of a child as well 
as the mind of a man. 
To create imaginary fig- 
ures and happenings in 
a language all his own, making odd phrases 
and faces to live on pages which will adorn the 
literature of the English tongue, time without 
end, and which are as charming as quizzical, 
and as amusing as fascinating; thereby build- 
ing a lasting bridge from childhood of yester- 
day to the children of countless tomorrows — 
you as the moving cause, Aristotle's "final 
cause" of that truly noteworthy contribution 
to English Literature, I gladly admit you to the 
degree of Doctor of Letters in this University. 

IPR1M© 2ii7 REA©IM© 




r he Spring 2007 Maxine Schaefer Memorial 
Reading took place at Children's Village in 
Dobbs Ferry, New York, which is a residential 
school for boys who have been abused and cannot live 
with their families. About 20 boys aged 9 to 1 1 came to 
the reading. Ellie Schaefer-Salins introduced the ac- 
tors and spoke a little about the Society and Lewis Car- 
roll and his books. Then Patt Griffin-Miller and our 
substitute reader, Selwyn Goodacre, read the Mad Tea 
Party chapter of Alice's Adventures in Wonderland. 

The boys were fascinated with the accent of our 
British member, Selwyn. After the reading they asked 
more questions about him and England than about 
Lewis Carroll. "Do you live in a castle in England? Are 
the roads small there? Have you met the Queen?" We 
explained how Lewis Carroll and Christ Church are 
connected to Harry Potter and asked if they knew that 

Hogwarts Dining Hall in the first Harry Potter movie 
was filmed where Lewis Carroll used to eat. The boys 
were thrilled with this connection. Many were also 
happy with the free Alice books that were given out. 
One boy commented that he will be the only boy in 
his residence with a book with gold pages! 

Thank you to Children's Village for their won- 
derful hospitality during the reading. Thank you to 
Society members Patt Griffin and Selwyn Goodacre 
for being wonderful readers. And we greatly appre- 
ciate that Janet Goodacre, Cindy Watter, David and 
Mary Schaefer, Julia Blumenthal, Mary Blumenthal- 
Lane, and Ellie and Ken Salins attended the reading. 
The Maxine Schaefer Memorial Reading has been a 
part of Lewis Carroll Society of North America meet- 
ings for 10 years now, and has given over 800 books to 
children since its inception. 

A Mad Tea Party Reading 

Speaking of things Flimsy and Miserable 


Director Robert Shaye's much-anticipated 
screen adaptation of Lewis Padgett's clas- 
sic science fiction story "Mimsy Were the 
Borogoves" was released by New Line Cinema this 
March, curiously retitled The Last Mimzy. Why some- 
one (perhaps screenplay writers Bruce Rubin and/or 
Toby Emmerich?) made the unfortunate decision to 
update the spelling of Carroll's famous 
nonsense word is anyone's guess. 

Lewis Padgett is, of course, the pen 
name for the famous husband-and-wife 
team of Henry Kuttner and Catherine 
L. Moore. Their brillig mimsy collab- 
orative effort first appeared in the Feb- 
ruary 1943 issue of the pulp magazine 
Astounding Science Fiction (Vol. XXX, 
No. 6). In their story, set in the distant 
future, humans have invented a time 
machine as well as devised educational 
toys to help their children learn non- 
Euclidean geometry and abstract alge- 
bra as a tool to expand their minds and 
mental capabilities. Some of these toys 
are sent back into the past via the time 
machine, where they are discovered by 
none other than our famous Alice, who 
uses them to write "Jabberwocky" (and we thought 
some ancient Anglo-Saxon wrote it!), which provides 
a formula by which one can travel through bizarre 
alternate realities. In Shaye's cinematic version, the 
toys are found by a modern suburban brother and 
sister, and Mimzy, a stuffed toy white rabbit, is one of 
their teachers. As an aside, you might be interested 
to know that even a battered and rapidly deteriorat- 
ing copy of this classic pulp (very acidic paper) com- 
mands a price of $30 in today's overheated market. 

If you happen to be in the fringe group interested 
in science fiction with Carrollian allusions, you might 
like to know that the story soon made an appearance 
in an anthology, A Treasury of Science Fiction (Berkley 
Books, 1948), edited by Groff Conklin (reprinted by 
Bonanza Books in 1980). Other appearances in an- 
thologies include (a) The Science Fiction Hall of Fame, 
Vol. 1, edited by Robert Silverberg (Doubleday, 1970), 
(b) The Best of Henry Kuttner, with an introduction by 
Ray Bradbury (Ballantine, 1975), (c) Isaac Asimov Pres- 

ents the Great Science Fiction Stories: 5 (1943), edited by 
Isaac Asimov and Martin H. Greenberg (DAW Books, 
1981), (d) The Ascent of Wonder: The Evolution of Hard 
SF, edited by David G. Hartwell and Kathryn Cra- 
mer, with an introduction by Gregory Benford (Tom 
Doherty Associates, 1994; U.K.: Orbis, 1994; TOR, 
1997), and (e) Two-Handed Engine (Centipede Press, 
2005), which purportedly reprints all 
of Kuttner's works in an edition lim- 
ited to 300 copies. 

I Of possible interest to those 

of you who are on the fringe of the 
fringe, William Shatner (a.k.a. Cap- 
tain Kirk) reads "Mimsy Were the 
Borogoves" on a Caedmon vinyl LP 
issued in 1976. Even stranger, Brian 
K. Vaughn wrote an episode for Bat- 
man Detective Comics (DC Comics, No. 
787, December 2003) entitled "Mimsy 
Were the Borogoves," which is replete 
with Carrollian references. In this 
story the Mad Hatter injects a serum 
into his psychiatrist, transforming 
him into a Jabberwock! 1 

Another related mathematical 
curiosity is a tongue-in-cheek article 
by Carol Lewis (a pseudonym?) entitled "Lemma- 
wocky" that appeared in Manifold-13, the Winter 
1972-73 issue of a mathematical magazine published 
at the University of Warwick, Coventry, U.K. Lewis 
claims to have deciphered "Jabberwocky'Y famous 
nonsense words and discovered a mathematical the- 
orem (Humpty Dumpty having evidently missed it). 
The famous refrain, "'Twas brillig...." is interpreted 
as (and I quote): "A structurally stable dynamical sys- 
tem in the plane has finitely many singularities, and 
the limit sets of the trajectories are closed orbits of 
singularities." The entire article can be viewed online 

[The Last Mimzy DVD release contains afeaturette with 
commentary by our own Mark Burstein. — Ed.] 

1 See Pictures and Conversations: Lewis Carroll in the 
Comics. Austin, TX: Ivory Door, No. 43, 2005. Entry 
No. SD6000. 

Logical Writings by (and about) Lewis Carroll 



r hough Lewis Carroll's 
publications in logic ap- 
peared late in his life, his 
interest in logic was nearly lifelong. 
In a letter dated 29 December 1891, 
and written to (and later published 
by) his nephew Stuart Dodgson 
Collingwood, he wrote that his in- 
terest in logic was forty years old: 

At present, when you try to give 
reasons, you are in considerable 
danger of propounding fal- 
lacies. Instances occur in this 
little essay of yours; and I hope 
it won't offend your amour propre 
very much, if an old uncle, who 
has studied Logic for forty years, 
makes a few remarks on it. 1 

Carroll's 1855 diary entries 
confirm this early interest in logic. 
Surely, logic was not yet his main 
interest, but it was probably never 
completely absent, as shown by 
the numerous logical references in his diaries and 
letters, and in his other literary and mathematical 
works. Nonetheless, Lewis Carroll's fame among 
today's logicians is essentially due to his fictional 
works, particularly the two Alice tales, and not his 
logic textbooks. The view that without his mathemat- 
ical and logical avocation, Carroll's Alice tales would 
have been much less inventive is largely accepted. 2 
However, there is a tendency in some commentar- 
ies to overestimate the books' logical (and more 
widely, mathematical and philosophical) qualities. It 
has even been suggested that A/zV<?was a treatise of 
logic, and that Lewis Carroll, by writing it, wanted 
to provide lessons in correct reasoning to his child 
readers. It seems more likely that, on the contrary, 
the success of the Alice books is partly due to the lack 
of a moral. Bertrand Russell's comment on the Alice 
books in a radio program confirms this viewpoint: 
"When I was young, it was the only children's book 
that hadn't got a moral. We all got very tired of the 
morals in books." 3 

TABLE VIII. Lewis Carroll's early 

logical avocation is also at- 
tested to in his mathemati- 
cal writings, where he gave 
particular importance to 
the logical structure of 
the arguments. His work 
on geometry, for instance, 
led him to study and dis- 
cuss the validity of argu- 
ments, and in fact, many 
of the concepts he later 
introduces in his works 
of logic already appear in 
his geometry books. There 
are other connections 
needed to understand 
Lewis Carroll's interest in 
logic. He insisted in many 
of his letters on the impor- 
tance of logical argumen- 
tation in sermons and re- 
ligious thought. 4 Later, he 
planned to publish a book 
on religious matters from a logical viewpoint. 5 Unfor- 
tunately, the book never appeared. The same concern 
for correct reasoning appears in his contributions to 
public debates, such as the debate on vaccination. 

Lewis Carroll's 
Logical Writings 

When Lewis Carroll grew older, he focused solely on 
logic. On 29 March 1885, he made a list of his "literary 
projects" and included "A symbolical logic, treated by 
my algebraic method." 6 The idea of writing his first 
logic textbook, entitled The Game of Logic, occurred to 
him in 1886, as recorded in his 24 July diarv entry: 

The idea occurred to me this morning of be- 
ginning my 'logic' publication, not with 'Book 
I' of the full work 'Logic for Ladies' but with 
a small pamphlet and a cardboard diagram, to 
be called The Game of Logic. I have during the 
day written most of the pamphlet. 7 


All y arc in. 




All y arc in' 

All y are m 





All y arc »«' 

All in are y 






All in are y 

All ///' arc y 




All ///' are y 


Representation of Propositions from Symbolic Logic Part I 

The Game of Logic appeared the same year. However, 
since Lewis Carroll was not satisfied with the printing 
quality, he condemned this edition, and a new one ap- 
peared the next year. 8 It is essentially a game whereby, 
thanks to a board and counters, the players could find 
it amusing to draw conclusions from a set of premises. 
In order to make his game accessible to a large public, 
Lewis Carroll took special care when writing it. But 
even more than a game, the book was conceived as a 
way to popularize logic, and Carroll thought it could 
be a source of instruction, too. 

Ten years after the publication of The Game of 
Logic, Lewis Carroll published his second book on 
the subject, entitled Symbolic Logic. Four editions of 
this first part of Symbolic Logic were published within 
a year. In his successive prefaces and introductions, 
Carroll insisted on the importance of logic as both a 
source of instruction and a mental recreation. Car- 
roll was still working on Parts II and III of Symbolic 
Logic, planned to be subtitled "advanced" and "tran- 
scendental," when he died in January 1898. In a let- 
ter to his sister Louisa, dated 28 September 1896, he 
expressed the importance he gave to these sequels, 
which he considered as a "work for God." He even 
abandoned other projects in order to work on the 
logic books first. 9 Unfortunately, Carroll died before 
completing that promising work. It was only in 1977 
that the American philosopher W. W. Bartley III pub- 
lished large surviving fragments of the second part of 
Symbolic Logic. Bartley 's book, which also reproduces 
Part I, contains the galley proofs he discovered, and 
many other manuscripts, notes, and letters on logical 
matters. However, in spite of the high quality of Bart- 
ley's editing, Carroll scholars and historians of logic 
must always keep in mind, when using the book, that 
it is not a definitive edition and is not exactly as Car- 
roll would have published it, but is rather a collection 
of Carroll's surviving logical papers. 

In addition to his textbooks and various pamphlets 
and circulars, Carroll made some logic contributions 
to periodicals on the problem of hypotheticals. The 
best known are his two articles in the philosophical 
review Mind: "A Logical Paradox" (1894) and particu- 
larly "What the Tortoise Said to Achilles" (1895). Both 
have been widely reprinted, commented on, and dis- 
cussed by logicians and philosophers all throughout 
the twentieth century. They are generally considered 
Carroll's best contributions to logic. 

Lewis Carroll's 
Logical reputation 

It seems that Lewis Carroll's contemporaries felt un- 
easy with Carroll's logical writings and their style. An 
anonymous review published in The Literary World is 
very instructive on the difficulty of understanding 
The Game of Logic as it swings between seriousness and 
fun. Its author compares Lewis Carroll to Dickens' Dr. 

Blimberl He asks how such a book (on such a subject) 
could interest children: 

We confess to having spent some minutes in 
trying to make out just how children are to be 
persuaded to enjoy Mr. Lewis Carroll's new 
book, The Game of Logic, with its accompany- 
ing diagrams and red and grey wafers [ . . . ] We 
seem to see some pale little Dombey junior 
bending a puzzled brow over the book, and 
trying to convince himself that it is fun and 
a game, and not hard work under a thin dis- 
guise; but a sturdy boy, not of the little Paul 
order and not educated by Dr. Blimber, would, 
we are inclined to think, spurn The Game of 
Logic as a stupid sham, black rabbits, greedy 
rabbits, pink pigs, and all, and clamor for 
some play that is really play, or else some study 
that is really study, on the principle that two 
things, each good in itself, often make when 
mixed a third thing which is neither good nor 
desirable. 10 

This reviewer's difficulty in accepting Carroll's 
method may explain the overall mixed reception of 
The Game of Logic by its reviewers. Symbolic Logic Part 
/seems to have been better received. An anonymous 
review in the Educational Times described it as "a tour 
deforce of originality, throwing light on its subject from 
fresh angles." 11 However, it attracted only limited at- 
tention from logicians. It was appreciated mostly for 
its humorous examples, which were widely reprinted, 
adapted, and imitated in modern logical manuals. Its 
scientific content, elementary as Lewis Carroll himself 
acknowledged it to be, drew little attention, despite 
the fact that it contained many interesting inventions. 

When Bartley published the second part of Sym- 
bolic Logic, he claimed in his introduction (and in the 
various articles he published prior to the publication 
of the book) a higher place for Lewis Carroll among 
logicians. But his enthusiasm was not shared by all his 
reviewers. Peter Alexander, for instance, wrote: 

It is not the fault of the Editor, who deserves 
our thanks, that this book is likely to disap- 
point the Carroll addicts, among whom I 
count myself, who have an interest in logic. 
It reveals Carroll as less inventive, less able to 
profit from the available literature and less 
philosophically acute than the 'Alice' books 
lead one to expect. 12 

Ivor Grattan-Guinness was more positive: 

Lewis Carroll subtitled Symbolic Logic 'A fas- 
cinating mental recreation for the young'. I 
trust that this edition will help stimulate a long 
overdue re-appraisal of Carroll as a logician 
suitable for the attention of the adults, and 
not just as a puzzle-setter for juvenile minds. 13 


This mixed reception shows again the difficulty 
of understanding Carroll's works and partly explains 
his reputation as a "logician for children" with both 
logicians and Carroll scholars. In effect, it is generally 
assumed that he was an "unconscious" logician, that 
he considered logic as a game, and that he intended 
his work for children. It is clear that these generally 
received ideas impede an objective understanding 
and a correct appreciation of Lewis Carroll's work as 
a logician. 

There is still much to be done to understand fully 
Lewis Carroll's logic. Very few authors have given at- 
tention to Carroll's writings in this field (except the 
Mind papers). R. B. Braithwaite, Edward Wakeling, 
and George Englebretsen are among them. More re- 
cently, Francine Abeles published two important pa- 
pers in the leading journal History and Philosophy of 
Logic, which have attracted new interest in Carroll's 
logic. 14 It is hoped that this will lead to more collabo- 
ration between historians of logic and Carroll schol- 
ars, which in turn will permit a better understanding 
of the place of Carroll's work in the history of logic. 
The following concrete example, about the Achilles 
and Tortoise dialogue, shows how such collaboration 
would have prevented some misunderstandings. 

A Concrete Example: 
Achilles and the Tortoise 

Lewis Carroll published his Achilles and Tortoise dia- 
logue in the journal of philosophy Mind. While it has 
been widely reprinted, discussed, and correctly re- 
ferred to by twentieth-century logicians and philoso- 
phers, this text has long been catalogued mistakenly 
by Carroll scholars. The Lewis Carroll Handbook, for 
instance, says that the text was printed presumably 
in December 1894. But there was no Mind issue in 
December! And despite Selwyn Goodacre's corrective 
note, 15 the error still appears in some recent works. 
The confusion is due to Carroll himself, who printed 
a copy of the text with the inscription "Reprinted 
from Mind for December, 1894." However a simple 
look at Mind shows that it appeared in 1895. This 
widespread misunderstanding about the publication 
date of Carroll's Achilles and the Tortoise dialogue 
among Carroll scholars is "balanced" by the wide- 
spread belief among logicians and historians of logic 
that Carroll didn't intend his texts to have a single 
interpretation and that he himself ignored the exact 
meaning of his texts, and was not fully conscious of 
their importance. Braithwaite wrote that "[i]n both 
these papers in Mind Lewis Carroll was ploughing 
deeper than he knew. His mind was permeated by an 
admirable logic which he was unable to bring to full 
consciousness and explicit criticism. " 16 J. F. Thomson 
wondered whether Carroll intended the Achilles and 
the Tortoise dialogue to have any moral: 

The extreme eccentricity of the behaviour of 
both of the characters may well make us won- 
der whether Lewis Carroll knew what he was 
up to in writing the story. Certainly it cannot 
be merely taken for granted that he intended 
to advance some moderately clear thesis or 
theses about inference but chose to do so in 
a veiled and cryptic way. It is just as likely that 
the story is the expression of perplexity by 
someone who was not able to make clear to 
himself just why he was perplexed. 17 

However, a close look at Carroll's private papers, 
a task that no historian of logic except Bartley and 
Abeles has undertaken, shows that Carroll was seri- 
ously working on a theory of hypotheticals during 
the 1890s, and even if that remained a work in prog- 
ress, his two Mind papers were surely neither "uncon- 
scious" writings nor jokes. They resulted largely from 
this work and from the correspondence he, in paral- 
lel, privately maintained with many contemporary lo- 
gicians, to whom he sent copies of his problems and 
evaluated their answers. His diary for 1894 shows that 
he paid particular attention to the problem of hypo- 
theticals during that year, during which both Mind 
papers were written. Thus, they are parts or steps of a 
methodical and conscious search for a theory of hy- 

This example shows the necessity of using both 
published and unpublished writings in order to write 
a more efficient history of Carroll's interest and work 
in logic. The recent publication of Lewis Carroll's un- 
abridged diaries by the Lewis Carroll Society (U.K.) 
and the forthcoming publication of Carroll's logic 
pamphlets by the Lewis Carroll Society of North 
America are surely excellent steps in that direction. It 
is hoped that Carroll's mathematical and logical let- 
ters will also be published someday. 


Lewis Carroll's 
Logical Correspondence 

Cohen and Green's two volumes of Carroll's letters 
contain some interesting letters on mathematics and 
logic. However, they are too few to be representative of 
Carroll's correspondence with his contemporary col- 
leagues. Carroll's correspondence with his publisher 
Macmillan also includes some interesting letters on 
the matter. See, for example, the letter to Macmillan 
dated 19 October 1895, where one finds an explicit 
evaluation of the state of logic at that time: 

[T]his book [Symbolic Logic] is not offered as a 
'school book.' In the present state of logical 
teaching, it has no chance of being 'adopted' 
as 'a school book,' as it would be of no use in 
helping its readers to answer papers on the 
Formal Logic, which is the only kind taught 
in Schools and Universities. It teaches the real 
principles of Logic, and it enables its readers 
to arrive at conclusions more quickly and easily 
than Formal Logic, but it does not enable any 
one to answer questions in the form at pres- 
ent demanded. I have no doubt that Symbolic 
Logic (not necessarily my particular method, 
but some such method) will, some day, super- 
sede Formal Logic, as it is immensely superior 
to it: but there are no signs, as yet, of such a 
revolution. 18 

This letter shows that Carroll was conscious that 
his logic was different from the formal logic that was 
still taught in British schools and universities (that is, 
traditional Aristotelian logic). Symbolic logic is the 
logic that John Venn, for instance, worked on (that is, 
the new Boolean logic). 

Though the published volumes of Carroll's let- 
ters contain interesting items on his growing interest 
in logic, the letters with proper logic content are to 
be found elsewhere. Bartley published many of them 
in his edition of the second part of Carroll's Symbolic 
Logic. Many, however, are still unpublished, and more 
sadly, unknown. 

A Concrete Example: 
the Barber-Shop Problem 

The barber-shop controversy offers a good concrete 
example. It is known that the barber-shop prob- 
lem, published by Carroll in Mind in 1894, reports 
a debate that opposed Carroll to John Cook Wilson, 
Wykeham Professor of Logic at Oxford. The dispute, 
which began around 1892 and culminated in 1894, 
was very passionate, as one can see through Carroll's 
numerous entries in his journal. Carroll wrote succes- 
sive versions of the problem (Bartley published eight 
versions, but there are many others), and sent them 
to many of Britain's leading logicians, collected their 
answers, compared them, and responded. The con- 

tradictory responses that Carroll collected from his 
"logical friends," as he called them, encouraged him 
to write a new version of the problem on 3 May 1894 
and to send it to the journal Mind for publication. In 
a note annexed to the problem, he explains: 

The paradox, of which the foregoing paper is 
an ornamental presentment, is, I have reason 
to believe, a very real difficulty in the Theory 
of Hypotheticals. The disputed point has been 
for some time under discussion by several 
practised logicians, to whom I have submitted 
it; and the various and conflicting opinions, 
which my correspondence with them has elic- 
ited, convince me that the subject needs fur- 
ther consideration, in order that logical teach- 
ers and writers may come to some agreement 
as to what Hypotheticals are, and how they 
ought to be treated. 19 

Venn, in his own Symbolic Logic (1894), described 
the barber-shop problem as a problem that "recently 
circulated, for comparison of opinions, amongst logi- 
cians. As the proposer is, to the general reader, bet- 
ter known in a very different branch of literature, I 
will call it Alice's problem." 20 And in the preface of 
the book, Venn added, "the problem referred to on 
p. 442 has been since discussed by its proposer, in the 
last number of Mind." 21 Note that neither Carroll's 
real name nor his pseudonym is mentioned. Maybe 
Venn was perturbed here by a Carroll letter which is 
still available in the library of Venn's College (Gon- 
ville and Caius) in Cambridge. In this letter, dated 
11 August 1894, Carroll simply gives his permission 
to Venn to use the problem and include it in his new 
book, and then asks him not to reveal his real name 
in connection with his pseudonym. He wrote: "I shall 
be grateful if you will not mention to any one my real 
name, in connection with my pseudonym." 22 This is of 
course one more instance that shows Carroll's desire 
for anonymity. 

There are some other recipients of the barber- 
shop problem in Cambridge. There are three letters 
from Carroll to Henry Sidgwick in the Trinity College 
library, together with a letter from Sidgwick to Carroll. 
Carroll's letters are interesting, for they suggest that 
they were his first contact with Cambridge logicians. 
In his first letter, dated 8 March 1894, Carroll asked 
Sidgwick for his opinion on an enclosed argument 
and apologized for the liberty he took as a "stranger" 
in addressing him. In his answer, dated 13 March 1894, 
Sidgwick gave his solution to the problem, but added 
that he was not professionally a logician. In his reply, 
Carroll explains that he found no professor of logic 
in Cambridge's Calendar and asked Sidgwick who was 
the "chief logician" there. This letter suggests that 
at the time, Carroll knew little about Venn and John 
Neville Keynes, Cambridge's major logicians. It is thus 


possible, as is suggested by Venn's testimony above 
and by a note in Sidgwick's papers where Keynes dis- 
cussed Carroll's problem, that it was Sidgwick and 
not Carroll himself who dispatched the barber-shop 
problem among Cambridge logicians. 

Oxford logicians, too, discussed the barber-shop 
problem. Of course Carroll corresponded about it 
with John Cook Wilson. Cook Wilson's papers are 
now in the Bodleian Library at Oxford. There are 
more than forty letters from Carroll to Wilson (many 
but not all were already published by Bartley), to- 
gether with some barely legible letters from Wilson 
to Carroll. The earliest Carroll letter is dated 5 June 
1890, while the latest is dated 17 May 1897. In this 
abundant correspondence, the two men debated log- 
ical matters, and geometry and probability problems. 
There are curiously no surviving letters between 1892 
and 1894. We know that they existed, for Wilson's 
posthumous editor quoted some of them in 1926. 23 
Another Oxford logician with whom Carroll corre- 
sponded was Francis H. Bradley. A draft of a letter 
Bradley intended to send to Carroll is included in 
a recently published collection of Bradley letters. 24 
Lewis Carroll corresponded about the barber-shop 
problem with many other logicians, and it would be 
fascinating to collect all this correspondence to have 
a complete understanding of the debate and its devel- 
opment. Carroll's letters on the matter are dispersed 
around the world. In addition to Oxford and Cam- 
bridge and various private collections, one may add, 
for example, New York and Princeton, where some of 
the finest Carroll collections are located. In regard to 
the barber-shop problem, the Berol Collection (Fales 
Library, New York University) owns Carroll's letters to 
J. A. Stewart and to an unidentified "Professor," while 
the Parrish Collection (Princeton University) holds 
Carroll's letters to James Welton. 

A Curiosity: 

Hugh MacColl Reading 

Lewis Carroll 

There are also important contemporary letters refer- 
ring to Carroll, although little is known about them. 
One of them is certainly worth noting. It was sent by 
the Scottish logician Hugh MacColl to Bertrand Rus- 
sell on 17 May 1905. Hugh MacColl is today remem- 
bered as a leading logician, thanks to his work on mo- 
dalities at the very beginning of the twentieth century. 
It is less known that MacColl, after some early works 
on logic from the 1860s to the 1880s, abandoned the 
study of that subject for about 13 years. In his letter 
to Russell, he explains that it was his reading of Lewis 
Carroll's Symbolic Logic that encouraged him to return 
to logical investigations after his long abstention: 

When, more than twenty-eight years ago, I 
discovered my Calculus of Limits [...], I re- 
garded it at first as a purely mathematical sys- 
tem restricted to purely mathematical ques- 
tions. [...] When I found that my method 
could be applied to purely logical questions 
unconnected with the integral calculus or with 
probability, I sent a second and a third paper 
to the Mathematical Society, which were both ac- 
cepted, and also a paper to Mind (published 
January 1880). [...] I sent a fourth paper (in 
1884) to the Math. Soc, on the "Limits of Mul- 
tiple Integrals", which was also accepted. This 
I thought would be my final contribution to 
logic or mathematics, and, for the next twelve 
or thirteen years, I devoted my leisure hours 
to general literature. Then a friend sent me 
Mr. Dodgson's ("Lewis Carroll's") Symbolic 
Logic, a perusal of which rekindled the old fire 
which I thought extinct. My articles since then 


I believe to be far more important from the 
point of view of general logic than my earlier 
ones; [...]. 25 

In fact, MacColl wrote most of the reviews of Car- 
roll's mathematical books for the journal Athenaeum. 
Although the Athenaeum reviews were published 
anonymously, fortunately there are copies of the 
journal owned by City University Library (London), 
on which the editor of the journal wrote the name 
of the author of each review. These marked copies 
show that it was Hugh MacColl who wrote the reviews 
of three successive editions of Carroll's New Theory of 
Parallels, the review of Carroll's Pillow Problems, and in- 
terestingly, the review of Carroll's Symbolic Logic. From 
MacColl 's review of A New Theory of Parallels in 1891, 
one can see that he knew that Charles L. Dodgson 
and Lewis Carroll were the same person. His review 
concludes with the following advice: "We strongly 
recommend non-mathematicians as well as math- 
ematicians to read [the author's] witty and ingenious 
'curiosa' which (if their experience agrees with ours) 
they will find as entertaining as little Alice found the 
curiosa of Wonderland." 26 

The few examples introduced in this paper make 
it clear that the study of Carroll's mathematical and 
logical works is as important for the history of math- 
ematics and logic as it is for a better understanding 
of Lewis Carroll's private and social lives. It is thus as 
important that we study Carroll's mathematical and 
logical writings as his literary fantasies. 

[ This is a revised version of a talk given at the Lewis Car- 
roll Society of North America meeting on 14 April 2007 at 
Columbia University, New York, and is based in part on 
research funded with grants from the Maison Francaise 
d'Oxford and The Friends of the Princeton University 

S. D. Collingwood, The Life and Letters of Lewis Carroll (Rev. 
C. L. Dodgson), Detroit: Gale Research Company, 1967 
(originally published in 1898), p. 299. 

2 See, for example, Peter Alexander, "Logic and the Humour 
of Lewis Carroll," Proceedings of the Leeds Philosophical and 
Literary Society, Literary and Historical Section, vol. 6, part 1, 
January 1944, pp. 551-66. 

3 Bertrand Russell, A Fresh Look at Empiricism (1927-42), 
volume 10 of The Complete Works of Bertrand Russell, edited by 
John G. Slater with the assistance of Peter Kollner, London 
and New York: Routledge, 1996, pp. 522-23. 

See, for example, Carroll's letter to his nephew in S. D. 
Collingwood, The Life and Letters of Lewis Carroll (Rev. C L. 
Dodgson), Detroit: Gale Research Company, 1967 (originally 
published in 1898), p. 301. 
5 See his letter to his publisher in Morton N. Cohen and Anita 
Gandolfo (ed.), Lewis Carroll and the House of Macmillan, 
Cambridge, New York, Melbourne: Cambridge University 
Press, 1987, p. 319. 

6 Edward Wakeling (ed.), Lewis Carroll's Diaries, vol. 8, Clifford, 
Herefordshire: Lewis Carroll Society, 2004, 

p. 180. 

7 Ibid, p. 285. 

8 See Clare Imholtz, "The History of Lewis Carroll's The Game 
of Logic," The Papers of the Bibliographical Society of America, vol. 
97, no. 2, 2003, pp. 183-213. 

9 Morton N. Cohen and Roger Lancelyn Green (ed.), 
The Letters of Lewis Carroll, 2 volumes, New York: Oxford 
University Press, 1979, p. 1100. 

10 Anonymous, "Review of Lewis Carroll's The Game of Logic," 

The Literary World, 16 April 1887, p. 122. 
1 ' Anonymous, "Review of Lewis Carroll's Symbolic Logic," The 

Educational Times, 1 July 1896, p. 316. 

12 Peter Alexander, "Review of W. W. Bartley Ill's Lewis Carroll's 
Symbolic Logic," The Philosophical Quarterly, vol. 28, no. 113, 
October 1978, p. 350. 

13 Ivor Grattan-Guinness, "Review of W. W. Bartley Ill's Lewis 
Carroll's Symbolic Logic," Annals of Science, vol. 36, no. 6, 1979, 
p. 653. 

14 See Francine F. Abeles, "Lewis Carroll's Formal Logic," 
History and Philosophy of Logic, vol. 26, no. 1, February 2005, 
pp. 33-46; and "Lewis Carroll's Visual Logic", History and 
Philosophy of Logic, vol. 28, no. 1, February 2007, pp. 1-17. 

15 Selwyn Goodacre, "Lewis Carroll's Contributions to Mind," 
Jabberwocky: The Journal of the Lewis Carroll Society, vol. 23, no. 
1, Winter 1993/1994, pp. 10-11. 

16 R. B. Braithwaite, "Lewis Carroll as Logician," The 
Mathematical Gazette, vol. 16, no. 219, July 1932, p. 176. 

17 J. F. Thomson, "What Achilles Should Have Said to the 
Tortoise," Ratio, vol. 3, 1960, p. 99. 

18 Morton N. Cohen and Anita Gandolfo (eds.), Lewis 
Carroll and the House of Macmillan, Cambridge, New York, 
Melbourne: Cambridge University Press, 1987, p. 323. 

19 Lewis Carroll, "A Logical Paradox," Mind, vol. 3, no. 11, July 
1894, p. 438. 

20 John Venn, Symbolic Logic, 2nd edition, Bronx, New York: 
Chelsea, 1971 (originally published in 1894), p. 442. 

2 Ibid, p. viii. 

22 Charles L. Dodgson, Letter to John Venn, dated 11/08/ 1894, 

The John Venn Collection, Gonville and Caius College Library, 

Cambridge, UK, C. 26. 
2 See John Cook Wilson, Statement and Inference, 2 volumes, 

edited from the MSS. by A. S. L. Farquharson, with 

an introduction by Mathieu Marion, Bristol, England: 

Thoemmes, 2002. 

24 See Carol A. Keene (ed.), E H. Bradley. Selected 
Correspondence. June 1872— December 1904, volume 4 of the 
Collected Works ofF. H. Bradley, Bristol: Thoemmes, 1999. 

25 Michael Astroh, Ivor Grattan-Guinness, and Stephen Read, 
"A Survey of the Life of Hugh MacColl (1837-1909)," History 
and Philosophy of Logic, vol. 22, 2001, 

pp. 93-94. 

Hugh MacColl, "Review of C. L. Dodgson 's Curiosa 
Mathematical A New Theory of Parallels," The Athenaeum, 
no. 3328, 8 August 1891, p. 197. 







Childhood from the mid-twentieth century 
onward was a far cry from the innocence 
and youthfulness cherished by both the 
Edwardians and the Victorians. World War II took 
the world's attention away from childhood, which 
was already becoming devalued after the First World 
War. By the late 1940s and early 1950s, "the romance 
with childhood was replaced by a love-affair with the 
adolescent or angry young man, a type much closer 
to the heart of modern Western culture, who repre- 
sented what was turbulent and difficult, insecure and 
cynical, in sophisticated society." 1 Thus, those illustra- 
tors who took on the task of reinterpreting the Alice 
stories were confronted with the choice of whether 
to appropriate a Victorian-or-Edwardian Alice, or to 
update her for the mid-twentieth century. 

Mervyn Peake's illustrated edition of 1946 and 
Walt Disney's 1951 film reveal the tension between 
nostalgic and modern attitudes toward childhood. 
Society at this time was unsure what it wanted to be. 
Focused more on the Cold War than on its young, 
it was uncertain about its attitudes toward children 
and adolescents — an ambiguity manifested in the an- 
tithetical images of Alice by Peake and Disney. 

Mervyn Peake is considered by some to be the 
most successful post-Tenniel Alice illustrator. I sug- 
gest that Peake's drawings, particularly his Alice, are 
memorable because they "bring the stories into the 
twentieth century." 2 He did not attempt to capture an 
ideal that had disappeared at the end of the Edward- 
ian era; rather, he created a precocious, sensual ado- 
lescent whom readers would recognize as a realistic 
contemporary, thus opening the door for the radical 
new interpretations of Alice by later illustrators. 3 

The differences between Peake's Alice and 
Tenniel's Alice are most apparent in the artists' dif- 
ferences in style. Tenniel's illustrations are flat and 
"hieratic," and consist of "leaden cross-hatching." His 
Alice is rigid and stoic, a "plangently Victorian miss." 4 

Peake's style, on the other hand, is characterized by 
"fluidity of line . . . subtle interpenetrating of stip- 
pling and adumbration," 5 soft outlines, and smooth 
cross-hatching. His Alice is sensual, wavy, and eroti- 
cized. In our first glimpse of Alice, we see her lying 
seductively in the grass, finger on her lips, with the 
"curve of her hip [acting] as an insinuating portal to 
the netherworld, and her eyes are dilated with dewy 
astonishment."' 1 Malcolm Muggeridge, who wrote 
the forward to the 1946 edition, said that whereas 
Tenniel's Alice is "as self-assured, even as arrogant, as 
Queen Victoria," Peake's is a wholly modern "bit of a 
dead-end kid." 7 Indeed, Peake's Alice is no longer the 
innocently curious girl thrust into a strange world. 
She has become an adolescent who is unaware of her 
burgeoning sexuality, and who will likely emerge as 
a teenage siren in a few years after her Adventures. I 
envision Peake's Wonderland as the threshold between 
adolescent ignorance and sexual maturity, not that 
between childhood play and adult tea. 

Graham Greene wrote to his friend Peake: "You 
are the first person who has been able to illustrate the 
book satisfactorily since Tenniel, though I still argue, 

Peake 1 946 


Peake 1946 

as I think I argued with you years ago, that your Alice 
is a little bit too much of a gamine." 8 When speaking 
with the Unicorn, Alice stands defiantly before him, 
arms folded, knee bent, head held high. Her stringy 
hair and shorter dress contribute to her gamine-like 
quality, a quality that positions her perfectly within 
the changing attitudes toward childhood of the late 
1940s. Yorke explains: 

But she's a gamine with the knowingness of 
a Balthus nymphette or a Nabokov Lolita . . . 
with come-hither eyes and a tendency to show 
off her bare legs. One critic thought her an 
"infant Bardot, peering through the grasses 
like a sultry puma." This is a post-Freudian 
version of Alice, even if Peake would have dis- 
claimed any knowledge of Freudianism. 9 

In Peake's illustration depicting an oversized 
Alice in the White Rabbit's house, for example, she 
rests on one knee, her other knee at her chest, al- 
lowing her dress to ride up toward her thighs, and 
suggesting a rather improper view if someone were 
to stand in the wrong place. Similarly, when climbing 
through the looking-glass, her large eyes and pouted 
lips emerge from the mirror. Her fingers are splayed 

against the glass, pushing toward the reader, and her 
legs are slightly spread, causing her dress to gather 
just above her knees. 

The post-Freudian child that all but shattered 
the Romantic, Victorian ideal of childhood had fully 
emerged with Peake's Alice. She follows the evolu- 
tionary trajectory along which the modernizing Alices 
that characterized the most successful and innovative 
editions of the second half of the twentieth century 

Five years later, however, the state of Alice re- 
verted unsuccessfully toward ideals of the past, and 
it would take the publication of a controversial and 
ground-breaking novel to situate all significant future 
Alices along a forward-looking path. Walt Disney's 
film is, after Tenniel's illustrations, the one that most 
often comes to mind when people think of Carroll's 
stories. They envision an Alice wearing a blue dress 
with full skirt, white pinafore, white tights, and black 
Maryjane shoes, with thick blonde hair tied back with 
a black ribbon. The image of Alice with which most 
American children grow up is Disney's. However, de- 
spite something of a cult following, it is most often 
considered an artistic failure. 

In spite of Disney's attempts at incorporating 
surrealistic touches, this is clearly not Carroll's or 
Tenniel's Wonderland. Where Tenniel's engravings 
are witty and satiric, Disney's are goofy and childish. 
This sensibility is best seen in images of the Queen of 
Hearts, a large woman with a silly face — and ridicu- 

i*i»\ .t 

J*L ufr L , V~ 

Disney 1951 

lously small husband — who is at one point shown up- 
side down, with her heart-print bloomers in the air 

The film's visual appearance and Carroll's clever 
text are incongruous. Alice and the other characters 
and objects in Disney's Wonderland are striking for 
their graphic clarity, simplicity, and bright, bold col- 
ors. It is true that such attributes characterize the 
majority of Disney's films and are no doubt visually 
appealing. But can Carroll's precise, nonsensical 
yet logically informed narrative be reconciled with 
Disney's candy-colored vision? I suggest that perhaps 
Carroll's text was simply not an appropriate project 
for Disney to undertake. 

The Neiu Yorker stated that the movie projected a 
"blind incapacity to understand that a literary mas- 
terwork cannot be improved by the introduction of 
shiny litde tunes, and touches more suited to a flea 
circus than to a major imaginative effort." 10 Many 
critics maintain that any celluloid version of Alice is 
inevitably an "appalling travesty," for there is no room 
"for two creative geniuses" within a single, coherent 
creative vision. 11 

Ultimately, some of the magic of Carroll's stories 
lay in the unique way in which their images were cre- 
ated. The particular combination of Carroll's text 
and Tenniel's illustrations requires an extension, cre- 
ation, and completion of the image within the read- 
er's imagination. 

Any Alice film "subverts the very reason for the 
books' popularity" 12 by making explicit that which is 
left to the reader's mind. In a way that goes beyond 
the landscapes and interiors within an illustration, a 

film fills in every space deliberately left open in a text 
and its accompanying images. Disney's Alice provides 
all details of color, shape, and sound, which, when left 
undetermined, allow for the brilliance of the reader's 
own vision of Wonderland. 

In and of herself, Disney's Alice was not a par- 
ticularly endearing character. Even Walt himself said, 
"Alice wasn't very sympathetic." 13 His Alice is emo- 
tionally distant, too sophisticated for her age, and she 
left audiences cold. When determining Alice's over- 
all characterization, Disney's designers had a choice: 
They could either portray a prissy Victorian school- 
girl, or they could attempt to transform the character 
in keeping with the times. According to John Grant, 
"Wisely, they chose the former course." 14 

But was the decision to retain an English, Victo- 
rian Alice in fact the wisest decision? Perhaps not; per- 
haps the failure of the character was not only a result 
of the incompatibility of Carroll's books and Disney's 
powerful creative vision, but also of the incompatibil- 
ity of a prim Victorian schoolgirl and the emergent 
adolescent of early 1950s America. Disney reached 
unsuccessfully back toward an obsolete Victorian 
ideal, referring to Tenniel's drawings for his underly- 
ing conception of Alice, but ultimately sentimental- 
izing them, depleting them of much of their wit and 
rendering them quite bland. 15 This attempt at recap- 
turing the Victorian spirit failed, as "Disney was more 
at home with Grimms' peasant folklore than Carroll's 
whimsical, English fantasy" 16 It was becoming clear 
that the Victorian ideal of innocence and purity was 
no longer relevant or interesting, a fate that was sealed 


by the 1955 publication of Lolita. The publication of 
Vladimir Nabokov's controversial novel was a turning 
point in the way society conceived of childhood and 
of Alice's Adventures in Wonderland. Nabokov himself 
said, "I always call him Lewis Carroll Carroll because 
he was the first Humbert Humbert." 17 The modern 
conception of Alice that began with Peake — one that 
subsided momentarily with the release of the Disney 
film, then reemerged, and has shown no sign of sub- 
siding again — does perhaps insist upon a lecherous, 
perverted Dodgson. Without making any moral judg- 
ment on Carroll and his behavior, I suggest that many 
of the Alices of the second half of the twentieth cen- 
tury reject the innocence of childhood. 

As we will see in my final two chapters, the most 
interesting visualizations of Alice to come make no at- 
tempt to insert a Victorian Alice into the twentieth 
century. Rather, artists saw the momentous transfor- 
mations occurring in the realm of childhood as an 
opportunity to embody those changes in a fictional 
icon with whom people would be familiar, yet who 
would be recognized even in an adapted and updated 
state, one resonant with the times. 

But not all hope was lost for Disney's Alice in Won- 
derland. The film enjoyed a surge of popularity in the 
late 1960s, when the hippie and psychedelic move- 
ments rediscovered and adopted it. 18 Although critics 
were not interested in revisiting the film, its surrealist 
implications and visionary quality rendered it newly 
appropriate for those children — now teenagers — 
who had grown up with it. While Disney's Alice -was 

discovering its new fan base, other artists were begin- 
ning to use the counterculture and its ideology as the 
foundation for their illustrations of Alice's Adventures 
in Wonderland. 

Wullschlager 210. 

Brian Sibley 70-76. 

Chimori 48. 

Will Self, introduction, Alice's Adventures in Wonderland, 

Lewis Carroll (New York: Bloomsbury, 2001) xv. 

Self xv. 
Self xv. 

Malcolm Yorke, Mervyn Peake (New York: The Overlook Press, 
2002) 244. 
Self xii. 
Yorke 245. 

John Grant, The Encyclopedia of Walt Disney's Animated 
Characters (New York: Hyperion, 1993) 233. 

11 Grant 232. 

12 Grant 232. 

13 Grant 234. 

14 Grant 234. 

15 Richard Kelly, "'If you don't know what a Gryphon is': Text 
and Illustration in Alice's Adventures in Wonderland," Lewis 
Carroll: A Celebration, ed. Edward Giuliano (New York: 
Clarkson Potter, 1982) 73. 

Adrian Bailey, Walt Disney's World of Fantasy (New York: 
Everest House Publishers, 1982) 183. 

Vladimir Nabokov, The Annotated Lolita (New York: McGraw- 
Hill, 1970) 377-8. 
18 Grant 233. 

Peake 1946 




Some U.S. Contemporary Reviews of 
Sylvie and Bruno Concluded 



Presented here are one short notice and 
four reviews of Sylvie and Bruno Concluded, 
all from the U.S. press. Most of the reviews 
follow patterns we have seen before: acknowledging 
S&BCs "serious defects," while managing to find at 
least some charm and amusement in the book. The 
Literary World reviewer, however, is perhaps unique 
in strongly disparaging even the poetry in the book. 
[Other contemporary reviews of the S&B books are found in 
KLs 62, 63, 67, 71, 72, 74, and 76.] 


JANUARY 13, 1894; VOL. 21, NO. 62 1. 

Messrs. Mcmillan [sic] & Co. promise a new work by 
Lewis Carroll early in January. It will be a continua- 
tion of "Sylvie and Bruno," and will undoubtedly 
ramble along in the author's own engaging fashion, 
which mingles the most charming of nonsense-verses 
and the profoundest of metaphysics, without even a 
pretence at consistency or continuity. 

is not a book for children, nor a book for young folks, 
nor for any other age. Dreary twaddle is, perhaps, the 
fittest characterization you can give it, and it is a ser- 
vice to lovers of Alice in Wonderland to warn them off 
from this fatuous production. 

march 22, 1894; vol. 79, no. 12. 
Sylvie and Bruno Concluded by Lewis Carroll is an odd 
blending of sense and nonsense. It is bewitching and 
amusing, as the author's books always are, and the 
fairy children are as fascinating as possible. All this is 
true in spite of serious defects. It is not good literary 
art, for example, to blend discussions of public and 
even political themes with fantastic and bewildering 
fun as in those pages. Some of the graver portions of 
the book are quite beyond juvenile comprehension. 
The religious element, however, is introduced suc- 
cessfully and effectively. Mr. Furniss's illustrations are 
capital and add much to the reader's enjoyment. 


FEBRUARY 24, 1894; VOL. 25, NO. 4. 

Sylvie and Bruno Concluded shows how low it is possible 
for Lewis Carroll to sink in prose and poetry. The first 
part of the work was redeemed by considerable clev- 
erness here and there, but this volume is the queerest 
conglomeration of fairy tale, love story, and tedious 
preachment that the hapless reviewer has yet met. It 


march 24, 1894; vol. 49, no. 12. 
In 1867 Mr. Lewis Carroll wrote for "Aunt Judy's Mag- 
azine" a little tale called "Bruno's Revenge." Years 
later it occurred to him that the story might serve as 
the nucleus of a longer narrative. Half was published, 
and with an ending which most readers supposed 
final. More than twice the period recommended 


by Horace for repressing literary works has elapsed 
and now Volume Second is given to the world. The 
present Sylvie and Bruno, Concluded, therefore, is that 
Volume II. In its preface, Mr. Carroll tells us that he 
conceives a human being to be capable of the follow- 
ing psychical conditions: (1) the ordinary state, with 
no consciousness of the presence of fairies; (2) the 
"eerie" state, in which, while conscious of actual sur- 
roundings, he is also conscious of the presence of 
fairies; (3) a form of trance, in which, while uncon- 
scious of actual surroundings and apparently asleep, 
he migrates to other scenes in the actual world or in 
fairyland, and is conscious of the presence of fair- 
ies. But Mr. Carroll discusses other things than fairies 
in his amiable, ambling, prefatorial way. He remarks 
that, while expecting sometime to publish an essay on 
the "Morality of Sport," he can aver now that the case 
from the sportsman's standpoint is much stronger 
than he had supposed. Nevertheless, he still believes 
that pain inflicted for the purpose of mere sport is 
cruel, and therefore wrong. From this he jumps into 
philippics directed against ritualism, but his words as 
to the worshipers, that "their bodily presence is all 
they need contribute," might be applied to the too 
frequent idea of many church-goers. Mr. Carroll's no- 

tions as to many subjects — competitive examinations, 
partisan politics, and what-not — are not confined to 
the preface; they often swamp the narrative, though 
never uninterestingly. For instance, there is an alto- 
gether delicious dinner-table discussion in the chap- 
ter on "Jabbering and Jam." As for the fairy story 
itself, it is done as only the author of "Alice in Won- 
derland" could do it. His italicizing becomes more 
than wearisome, his moralizing is very much on dis- 
play, but there is just that quaint, whimsical, original 
charm in this book that everybody knew there would 
be, directly the publishers announced, "Sylvie and 
Bruno, Concluded." 


JULY 5, 1894; VOL. 65, NO. 27. 

In Sylvie and Bruno Concluded Mr. Lewis Carroll makes 
the unfortunate mistake of writing with a Purpose 
other than that of letting his delightful imagination 
have full sway for the delectation of his readers. And 
with his Purpose in mind he writes over the children's 
heads, and therefore under the hearts of his grown- 
up readers. Nevertheless, the little book is charmingly 
fantastic and in parts worthy to stand on the shelf with 
Alice in Wonderland. 



*5 */**'. 

leaves ynom 
The Deaneny Ganden 


Hi Joel (or whoever sees this), 
As of yesterday, I didn't know 
anything about Lewis Carroll. But 
in searching for something else, I 
stumbled upon an interesting arti- 
cle on a Marilyn Manson fan page 
about a Lewis Carroll movie he is 
in the stages of producing. From 
that article, I was curious about 
Lewis Carroll and found your page 
and it's awesome. I've just glanced 
briefly through a bunch of the 
links and great info and I'm totally 
into Lewis Carroll now. Thanks for 
the great website. 

Tamra Brown 

Los Angeles, CA 

Why a Marilyn Manson interpretation 
is a good thing. — -Joel Birenbaum 


Dear Sir, 

I enjoyed Morton Cohen's article in KL 77 on Catherine Sinclair and Lewis 
Carroll. He covered much of the same ground when he delivered the sec- 
ond Roger Lancelyn Green lecture in June 1991 (see Bandersnatch No. 
72, July 1991). In his article, Morton discusses a number of elements [in 
Miss Sinclair's stories] that relate to Lewis Carroll, his life, his work, and 
his relationships with the Liddells. There are however, a number of more 
direct parallels between Holiday House and the Alice books, and also some 
interesting allusions, most of which Morton does not mention. Allow me 
to elaborate (below) . 

The Holiday House page references are to the Ward Lock edition (un- 
dated) — the only copy to which I have access. The Alice references are 
self-evident. Abbreviations — HH (Holiday House); AAIW (Alice's Adventures 
in Wonderland) ; TTLG ( Through the Looking Glass) . 
Selwyn Goodacre 

HHp. 28: "Seventhly, 
when next you spill 
grandmama's bottle of ink, 
Harry must drink up every 

"Very well! He may swallow 
a sheet of blotting-paper 
afterwards, to put away the 

TTLG: Then fill up the 
glasses with treacle and 

Or anything else that is 
pleasant to drink ...This 
is one of hvo instances also 
mentioned by Morton, but he 
does not point out the TTLG 


////chapter II: "The 
Grand Feast" has many 
echoes of the Mad Tea 
Party, not least a party 
where provisions are of- 
fered, but none are avail- 
able. Then on p. 42, Frank 
Abercromby pulls "the 
table-cloth till the whole 
affair fell prostrate on the 

HHp. 40: Is it significant 
that the Cook at Charles 
Forrester's home is called 
"Mrs. Comfit?" 

HHp. 49: Laura seizes 
Mrs. Crabtree's best scis- 
sors and cuts her ringlets 
off — echoed perhaps in 
the Hatter saying to Alice 
'Your hair wants cutting," 
and also in the reference 
to Ada whose "hair goes in 
such long ringlets." 

HHp. 60: "I would give 
sixpence to find out that, 
my lady!" answered Mrs. 
Crab tree. 

HHp. 68: Morton men- 
tions the episode where 
Uncle David gives the 
children a question-and- 
answer session, which has 
strong echoes in the inter- 
rogation of Alice by the 
Red and White Queens 
in TTLG. HH. "Which 
is the principal town in 
Caffraria? . . . How do you 
advance three steps back- 
wards? . . . When wheat is 
six shillings a bushel, what 
is the price of a penny 

TTLG: ...she seized the 
table-cloth with both 
hands: one good pull, and 
plates, dishes, guests, and 
candles came crashing 
down together in a heap 
on the floor. 

AAIW: Alice had no idea 
what to do, and in despair 
she put her hand in her 
pocket, and pulled out a 
box of comfits, (luckily 
the salt water had not got 
into it), and handed them 
round as prizes. 

AAIW: "If any one of 
them can explain it," said 
Alice ... "I'll give him 

TTLG: "Take the bone 
from a dog: what remains? 
Where do you pick the 
flower ... in a garden or in 
the hedges?" 

HHp. 76: Harry asks: "But 
what are we to draw water 
out of the well with? — here 
are neither buckets, nor 
tumblers, nor glasses!" 
"I could lend you my thim- 
ble!" said Laura, searching 
her pocket. 

AAIW: 'You can draw water 
out of a water-well," said 
the Hatter; "so I should 
think you could draw 
treacle out of a treacle 
well — eh, stupid?" 
And in the Caucus race: 
"What else have you got in 
your pocket?" he went on, 
turning to Alice. 
"Only a thimble," said 
Alice sadly. 

"Hand it over here," said 
the Dodo. 

AAIW: Two sections of the 

Caucus Race are echoed 


Indeed, she had quite a 

long argument with the 

Lory, who at last turned 

sulky, and would only say, 

"I am older than you, and 

must know better." 

... an old Crab took the 

opportunity of saying to 

her daughter, "Ah, my 

dear! Let this be a lesson 

to you never to lose your 


"Hold your tongue, Ma!" 

said the young Crab, a 

little snappishly. 

I would suggest that these particular parallels are too close to 
be coincidental. The use of the Crab (recalling Mrs. Crabtree) 
and the extraordinary reversal with the child telling the mother 
off- — carry extra punch if seen as a direct reference to HH. 

HHp. 125: "I was in the 
world long before you 
were born, and must know 
best: so hold your tongue." 
[said Mrs. Crabtree]. 

HHp. 283: "The world 
must go round, — it must 
go round, and we can't 
prevent it." 

HHp. 290: The quotation 
at the head of the chapter: 
What is life? — a varied 

Deeply moving, quickly 
told. [Willis] 

In HH, Chapters II, III, IV, 

V, VI, and VII all end with 

a repeat of the chapter 


"... I shall say not another 

word about 



AA/W: "If everybody 
minded their own busi- 
ness," the Duchess said in 
a hoarse growl, "the world 
would go round a deal 
faster than it does." 

Is reminiscent of the clos- 
ing poem of TTLG: 
Life, what is it but a 

This anticipates the end- 
ing of Chapter HI of 

"... feeling sure that they 
must be 




First and foremost, welcome 
to new members of the Society 
since the Fall meeting: Leslie Ann 
Bowman, Julia Carnevali,Jill 
Crenshaw, Elizabeth Gambino, 
Pamela Gardner, Paul Goodin, 
Marcia Hearst, Tania Ianovskaia, 
Marion Isham, Ray Kiddy, Sharon 
McBride, Rose Owens, John 
Palaygi, Barbara Sainz, Byron 
Sewell, Mahendra Singh, Casey 
Struble, Cody Trojan, Crystal 
Vagnier, Charlotte Watter, and 
Christine Whitney. (If anyone has 
been inadvertently omitted from 
this list, please forgive me.) We are 
delighted to have you join us. 

Marcia Hearst, one of our new 
members, writes that she is orga- 
nizing a Lewis Carroll Study Group 
for the Institute of Retired Profes- 
sionals, a peer learning program at 
the New School in New York, while 
Mahendra Singh, another new 
member, reports that he is work- 
ing on a graphic novel version of 
The Hunting of the Snark. We wish 
all our new and existing members 
much success in their Carrollian 
endeavors and are always eager to 
hear details (though space may 
not permit citing them all). 


We note with sadness the recent 
passing of three LCSNA members: 

Charles Coleman 

of Oak Ridge, TN 

Michael Garvey 
of Southbury, CT 

Ivor Wynne Jones 

of Penrhyn Bay, Llandudno 

Wales, U.K. 

noTes ifwm ihe lcsna secKerany 






Dues notices were mailed or 
e-mailed during the week of 
May 4-1 1 , May 4th being of course 
Alice Liddell's birthday, and tra- 
ditionally the day that LCSNA 
members show their support of 
the Society by paying dues. We are 
an entirely volunteer-run organi- 
zation, and as most of you know 
by now, we found it necessary to 
increase dues this year in order to 
keep pace with rising print- 
ing and postage costs — to 
$35.00 for U.S. members 
and $50.00 for foreign 
members. Sustaining mem- 
berships have been in- 
creased to $100.00, but now 
come with perks. This year, 
a Sustaining membership 
includes a choice between 
two books from our stock. 
Perks for future years are 
still being finalized. 

For all members, we're 
working hard to ensure 
that you receive more 
"Carrollian bang for your 
buck." In addition to con- 
tinuing the high standards 

of the KL, we are revitalizing our 
book publication program, and 
will be able to present new LCSNA 
volumes to members, free of 
charge, this year and next year. 

We are always grateful for your 
help and support in keeping 
Carroll's legacy alive, both at the 
Basic and Sustaining levels, and 
we greatly appreciate those who 
choose to contribute more and/or 
to support special funds, such as 
the Maxine Schaefer Children's 
Outreach Fund and the Stan Marx 
Fund to encourage scholarship. 
As I write, the renewals and ad- 
ditional contributions are already 
rolling in, and we thank you. 


Members able to attend the two 
most recent meetings were the 
fortunate beneficiaries of two most 
generous gifts of high-quality Car- 
roll books, which were made avail- 
able at the meetings free for the 
taking. The first set was donated 
by member Earl Abbe and the sec- 
ond by the Reverend Emily King 
of New York City. Thank you both! 


Ravings fRom The Wmring Desk 

Hello again. My personal and Presidential 
thanks to all who made our Spring meeting at 
Columbia University such a rousing success, 
including our superb speakers — Amirouche Moktefi, 
Bryan Talbot, Michael Patrick Hearn, and Selwyn 
Goodacre — and those who organized and helped be- 
hind the scenes — the indefatigable Janet Jurist, the end- 
lessly gracious Jennifer Lee of Columbia, David Schaefer 
for his visual treats, as well as Monica Edinger, and Ellie 
and Ken Salins. Well done, all! I think Alice Hargreaves 
and Mr. Dodgson would have been pleased. 

For those of you who obeyed the King 
of Hearts and began this issue at the be- 
ginning, you will already know that I have 
read all 55 survey responses received so 
far. Thank you to all respondents, and to 
my partner, Tim, who helped me collate 
the results. But I didn't stop at reading the 
feedback; I have also heeded some of it. 
While the comments were overwhelmingly 
positive, we are not content to rest on our 
laurels. (For one thing, have you ever tried 
it? They're not actually all that comfort- 
able.) Since I addressed the changes affect- 
ing this magazine in my Bellman's Speech, 
I will focus here on the topics not related to 
the Knight Letter. In response to our survey 
request to name the things members value 
most about the Society, unsurprisingly the 
top answers were: this magazine, the meet- 
ings, the Carrollian scholarship, and the sense of 
community. We will continue our efforts to enhance 
your enjoyment of all of these things. 

We are already hard at work on planning the 
next two meetings — watch our website for breaking 
news. And speaking of our website, many of our sur- 
vey respondents voiced the desire for more frequent 
updates to the site, and for more features. This has 
been a goal of ours for a while; frankly, it's a matter of 
time and resources. It's not always possible just to toss 
another guinea pig on the wheel, as it were. The ones 
that haven't been suppressed are already very busy. 
But rest assured, we are working on it. 

In terms of Carrollian scholarship, as I an- 
nounced at Columbia, we have revitalized our publi- 
cations program. This Fall, paid-up members will re- 
ceive, free of charge, our elegant version of Carroll's 
delightful puppet play La Guida di Bragia, which we 
published in this magazine some years back, but will 
now for the first time publish in a high-quality stand- 
alone edition, with an expanded set of illustrations by 
talented Society member Jonathan Dixon. In 2008, 
members will receive a scholarly work by the late 
Elizabeth Sewell, Lewis Carroll: Voices From 
France, carefully prepared in collabora- 
tion with the Sewell estate and edited by 
Clare Imholtz. And at the Board Meeting 
this Spring, we voted to make our first 
foray into the realm of online print-on- 
demand publishing. O brave new world, 
that has such options in it! Our hope is 
that this new format will allow us to share 
our Society's new publications with the 
world at large more easily. 

As to fostering and enhancing the 
sense of community, we know that many 
of our members cannot attend meetings 
in person. A popular write-in response 
to the survey question of an ideal meet- 
ing location was "near me!" Given where 
some of you are located, that may not be 
possible, but we are actively seeking out 
new locations in the hope that at one 
time or another, we will hold a meeting "near you." 
In the meantime, I hope that our ongoing enhance- 
ments to the Knight Letter, to our website, and to our 
publishing efforts will provide you with more enjoy- 
ment of the Society's very real fellowship, and per- 
haps more ways to actively participate as well. Send us 
things for the magazine or the website. Send us ideas 
for publications, articles, or speakers. We are looking 
into putting our survey online, and many of you, of 
course, still have your printed copy from issue 77. Let 
us hear from you. 
Best regards, 


With this issue, we 'd like to try out 
a new feature, a Notes & Queries 
column. Readers are loelcome to sub- 
mit queries and to respond to those of 
others. All topics pertaining to the life 
and luorks ofLeivis Carroll/Charles 
Dodgson are valid query topics. Selec- 
tion and publication of reader submis- 
sions will be solely at the discretion of 
theN & Q editor. 

burns (into phone): Take the Pres- 
ident's speech and run it on the 
funny page... (turns to hildy, o.s.): 
What is it, Hildy? 

hildy's voice: What was the name 
of the Mayor's first wife? 
burns: You mean the one who 
drank so much? Tillie! 


hildy: Thanks, (she types furiously) 
close shot the desk. Its top opens 
slowly and Williams ' head sticks out. 
closeup burns including desk 

UN B.C. 

burns (screaming): Get back in 
there, you mock turtle! 
The desk-top falls, the fugitive disap- 
pearing within. 

From Howard Hawks 's wonderful 
1940 film, His Girl Friday, 
starring Gary Grant (Burns), 
Rosalind Russell (Hildy), and 
Ralph Bellamy (Bruce), with 
screenplay by Charles Lederer, 
based on Ben Hecht and Charles 
Mac Arthur s play The Front 
Page, transcript courtesy of 
Screenplays for You at 

Coincidentally(f), Cary Grant played 
the Mock Turtle in the 1933 Para- 
mount Alice movie. 

Here's our first query, submitted by an 
Alice collector and longtime LCSNA 

In chapter 2 of AATW, when Alice 
is worrying about who she is, she 
says, "I must be Mabel, after all, 
and I shall have to go and live in 
that poky little house, and have 
next to no toys to play with, and 
oh! ever so many lessons to learn!" 

■*v^5^ 1 


"Whenever the United Nations 
weighs in on human rights, our 
thoughts invariably turn to Lewis 

The Wall Street Journal, 

March 5, 2007. 

"Beatrix [Potter] 's 'discovery' of 
Alice made such an impression on 
her that she was able to recall the 
precise moment nearly fifty years 
later: 'I was playing in the . . . gar- 
den when a friend of my father's, 
Professor Wilson from Oxford, 
came in and produced a book 
from his pocket and discussed 
with my Mother whether I was old 
enough — or whether the book was 
too old? which was the same thing. 
It had been written by another 
Oxford don and was attracting 

We understand that Mabel is from 
the lower classes and thus has few 
toys and a poor house, but why 
would a lower-class girl have more 
lessons to learn than an upper- 
class girl like Alice? 
Please send responses and new 
queries to: 
with the subject line: 
Knight Letter N &Q. 

attention. I became immediately 
so absorbed with Tenniel's illustra- 
tions that I don't remember what 
they said about Lewis Carroll.'" 
From a letter to Helen Dean Fish, 
December 8, 1 934, quoted in the 
newsletter of the Children 's Books 
History Society (No. 86, December 
2006). The report goes on to state 
that tucked in an 1876 Mice 
recently donated to the Victoria 
and Albert Museum from Beatrix 
Potter's personal library was her 
rough pencil sketch of the White 

"Attacking things with greater 
gusto is Edith Piaf, played sen- 
sationally by Marion Cotillard 
in the new biopic La Vie en Rose. 
Nicknamed La Mome Piaf, which 
translates as "the sparrow kid" or 
"little sparrow," the songbird led a 
troubled life that transformed her 
into a difficult woman, though, 
as her most famous song said, she 
regretted nothing. Olivier Dahan's 
direction is sometimes overbear- 
ing, but it's fitting since Piaf her- 
self was a tiny tornado, throwing 


epic tantrums as the attendants 
around her quivered. Talk about 
your mome raths!" 

The Advocate Magazine, 

May 22, 2007 


"I've also had a real taste for spec- 
ulative fiction of one sort or an- 
other, which is, I think, the legacy 
of Alice in Wonderland. The idea . . . 
that you could open a door and 
find something unexpected ... 
Giving voice to everything is ex- 
acdy what both Lewis Carroll and 
Virginia Woolf do. It just dawned 
on me. Literally in Lewis Carroll 
things are always talking that do 
not normally talk." 

Kathryn Davis, author oj The 
Thin Place, in conversation with 
Donna Seaman, www.bookslut. 

Sanjay Sircar contributed the two 
following excerpts from novels. 
Prof. Sircar's comments are 
in italics: 

Mr. Simon Brocken is a lawyer in- 
volved in the affairs of his sister-in-law 
Isabel, who wishes to give all her money 
away to a woman she had wronged in 
youth. Humphrey is her nephew, and 
Jacqueline her companion. When mat- 
ters get very complicated, Mr. Brocken 
"buried his head in the sand. " 

Humphrey, who had a turn for 
humorous caricature, about this 
time made a little prophetic draw- 
ing of his aunt as Alice in Wonder- 
land, clasping an ostrich instead of 
a flamingo on the royal croquet- 
ground: the bird's expression of 
dignified repugnance, as it twisted 
up its head into Alice's face, was 
extraordinarily like Mr. Brocken's. 
Isabel laughed till she cried, and 
gave Humphrey a scolding. He 

did not show the sketch to Jacque- 
line. ... 

(The Foolish Gentlewoman, 
by Margery Sharp, London/ Sydney: 
Collins, 1948, p. 193) 

Even as pedestrian and offhand a 
reference as that in The Foolish 
Gentlewoman indicates (a) the pri- 
macy of Tenniel in the imagination of 
the culture, for we can all identify the 
illustration in question; (b) the as- 
sociation of Alice (rightly or wrongly) 
with innocence and trustfulness, for 
that is what Isabel incarnates; (c) the 
uses to which familiar images from 
Alice can be turned: here, the flamingo 
into ostrich change has nothing to do 
(that I can see) with Alice itself, except 
perhaps that the characters are in an 
extraordinary and thus (very generally 
indeed) Alice-like situation. 

[Mr. Tim Willows visits] Mrs. Claire 
Meadows, whose husband was ever 
absent and whose moral and social 
status was ever a subject of interest 
to those who had little interest left 
in life. He had met this shapely, 
vivid-lipped creature on several 
occasions and on this occasion he 
met her again. 

As he entered the softly illu- 
minated sitting-room he saw her 
lying in nothing very much on 
a large divan. Eyes, lips, and silk 
stockings formed his first impres- 
sion. Gradually he became aware 
of an aura of flame-coloured hair 
and a dead white throat. . . . She 
watched him with her deep blue 
shadow-touched eyes as he crossed 
the room and picked up the book 
she had been reading. 

" 'Alice's Adventures in Wonder- 
land," he read, seating himself 
beside her as if it were the most 
natural thing in the world. "I've al- 
ways liked that book. I'm glad you 
do too. I like you, you know." 

"I need a little liking," she said 
in a low voice. "I don't deserve it, 
perhaps, but that doesn't keep me 
from needing it. This world is not 
overkind. I much prefer Alice's." 

He reached out and stroked the 
cool skin of her white throat, and 

all the time the woman's eyes were 
upon him. Her hands lay open at 
her sides, their palms upturned. 

When Tim Willows left the 
house of Mrs. Claire Meadows 
some time later he had com- 
pletely demolished still another 
commandment, for, as has been 
previously suggested, Tim Willows 
could not tolerate half measures. 

"I feel that someone is dream- 
ing me," she said as he left, "and 
that when the dreamer awakes I 
won't be here any more." 

"When you awake," he told her, 
"perhaps I, too, shall be gone." 
(Turnabout, by Thorne Smith, 
Chapter III, "Good Clean Fun, "pub- 
lished in the U.K. by Heinemann in 
1930 and in the U.S. by Sun Dial 
Press in 1931.) 

I have often thought that [Mice] 
references /in literature7 such as these 
should be collected to see what informa- 
tion they give us about Alice in the 
culture, for the whole would be greater 
than the sum of its parts. I know that 
Knight Letter does reprint them as 
they come to hand, but I wondered if 
an Internet database could be estab- 
lished and added to, as materials come 
to hand. 

Such references and a collection of 
them would also depend greatly on an 
indexing system that would be capable 
of succinctly indicating to the reader 
the points of interest in the quotation. 
A set of agreed-on keyxuords would be 
essential for it to be useful. The only 
question is who is going to bell the cat? 

Another suggestion I have is a 
decade-by-decade list of editions of Alice 
with brief commentary on the image 
of Alice in the illustrations. [Much as 
Victoria Sears Goldman has been doing 
in herKL articles. -Ed.] 

Readers interested in communicating 
with Dr. Sircar may send mail to Unit 
105-S, 20 Federal Highway, Watson 
ACT 2602, Australia. 






"W yhen I was asked to edit a new collector 

% M\ m section of the Knight Letter, I was de- 
^Jf Jfc4.1ighted, but when I heard the proposed 
title "All Must Have Prizes," my grin began to disap- 
pear, eventually leaving a blank face. Then I thought, 
to be fair, I should at least consult the text to see if I 
could in fact connect the proposed title to the pro- 
posed subject. 

First it marked out a race-course, in a sort 
of circle, (the 'exact shape doesn't mat- 
ter,' it said,) and then all the party 
were placed along the course, here 
and there. There was no 'One, 
two, three, and away,' but they 
began running when they liked, 
and left off when they liked, so 
that it was not easy to know when 
the race was over. However, when 
they had been running half an 
hour or so, and were quite dry again, 
the Dodo suddenly called out 'The race 
is over!' and they all crowded round it, pant- 
ing, and asking, 'But who has won?' 

This question the Dodo could not answer 
without a great deal of thought, and it sat for 
a long time with one finger pressed upon its 
forehead (the position in which you usually 
see Shakespeare, in the pictures of him), while 
the rest waited in silence. At last the Dodo said, 
'everybody has won, and all must have prizes.' 

Well I'll be — it's the perfect title. A bunch of 
weird birds running around in circles, starting and 
stopping at random, and having no specific goal in 
mind — can you think of a better description of col- 
lectors? "But who has won?" What a great question! 
Do collectors ever win, and how do they know when 
they're done? The Dodo's answer is also brilliant, 
'everybody has won, and all must have prizes.' This 
too is eminently true. All Carroll/ A Z^ collectors 
win by the enjoyment they have in the act of collect- 
ing and the further joy they spread by sharing their 
collections with others. You can be sure that I am in 
full grin again, and the title suggested to me is not 
only acceptable, it is perfect. 

What can you expect to see in this section in the 
future? Although this is indeed the Lewis Carroll 
Society of North America, the majority of our mem- 
ber/collectors are Alice collectors. I'm sorry to be so 
brutally honest, but there it is. I'm sure there will be 
articles on Carroll collecting, but I'm equally sure 
that they won't be the main fare. I make this state- 
ment so that readers won't harbor false expectations 
and thereby can avoid disappointment. My expecta- 
tion is that other collectors among us will send 
me articles, questions, answers, anecdotes, 
opinions, as well as feedback on the col- 
umn. If this fails to occur, all you will 
read here are my thoughts. Is that really 
what you want? The one thing I don't 
want is any question as to the value of 
an item. My answer to this question 
is always the same. "It isn't worth any- 
thing, but I'll give you a dollar for it." 
It is important to study what Carroll 
did and how he lived, but it is also important 
to appreciate his legacy, and to a great extent 
that legacy is dominated by the Alice books and their 
various incarnations and offspring over several gen- 
erations. The beauty of the Alice books is the impact 
they have had on millions of people, as evidenced in 
part by the apparently infinite outpouring of memo- 
rabilia, whether literary, artistic, whimsical, utilitar- 
ian, trivial, or even absurd. Regardless of the nature 
of the collectibles, they are all testaments to the in- 
fluence of Lewis Carroll on our society. 

The novice collector can be overwhelmed by 
the sheer number of Alice items that exist and the 
additional items that are constantly being produced. 
With any luck, this page will help bring order to that 
particular brand of chaos, or even provide reassur- 
ance to all Alice collectors that there are other weird 
birds who are also running around in the same diz- 
zving circles. In the end they will find that indeed, 
everybody has won. And yes, all must have prizes. 

What follows is largely based on an interview I 
gave to Marty Weil, titled Through the Looking-Glass 
Interview with Joel Birenbaum, which appears on the 
ephemera blog ( 
era/2007/04/ through_the_loo.html). You will notice 


in the URL that the title got truncated to "through_ 
the_loo." The Brits in our reading audience may find 
this a more apt title. 

As the new editor of the collector page, I feel it's 
only fair to give you an idea of who I am and what 
my qualifications are. I have now spent nearly half of 
my life collecting Alice, and if I weren't so old (I am 
rapidly approaching 60), this would hardly be worth 
mentioning. It turns out if you do something for that 
long you just can't help but learn something, no mat- 
ter how hard you try. I began collecting Alice in Won- 
derland illustrated books in 1978. My first purchase 
was the Salvador Dali illustrated Alice, which I bought 
for an incredibly low price. This caused me to believe 
that book collecting would be a walk in the park, but 
it wasn't long before I stepped into one rabbit hole 
after another and discovered that I wasn't such a 
prodigy after all. Fate has played a huge role in my 
life as a collector. I bought a copy of A Wasp in a Wig 
at a local auction and found the LCSNA address in it, 
so I called to find out if I could get some leads on lo- 
cating Alice books. To make a long story short, David 
and Maxine Schaefer signed me up as a member, 
put me in touch with several major collectors, who 
introduced me to other collectors, which caused my 
collection and knowledge to grow at a phenomenal 
pace, helped me to create a database of (not nearly) 
all editions of the Alice books in the world, led to my 
launching the Lewis Carroll Homepage (http://www. and the Alice in Won- 
derland Collectors Network (http://www. collectalice., resulted in my having the honor 
of being president of the LCSNA for four years, in- 
spired me to create the online pictorial catalog of 
Alice collectibles (http://www. squirl. info/groups/ 
show/5), and has culminated in my being named edi- 
tor of the collector page of this august magazine. I'm 
sorry, but they wouldn't give me the space necessary 
for the long version. 

Now back to collecting. I started with an ex- 
tremely focused approach: to collect only first edi- 
tions of illustrated Alice books. At some point I lost 
that steely resolve, and I expanded my collecting en- 
deavors to include books by or about Carroll, Alice 
parodies, and finally translations. Several years later 
I totally lost control and began collecting Alice stuff, 
such as figurines, art, plates, Toby jugs, cookie jars, 
and whatever. You name it, I bought it. After a while it 
got harder to find books I didn't have, so I was buying 
even more memorabilia. I honestly don't remember 
when I started buying ephemera. It most likely started 
with postcards, advertisements, or some other illus- 
trated medium. After all, it was the Alice character 
images that first attracted me to collecting. It is quite 
a psychological leap to go from collecting things that 
people wanted to keep forever, to things that were 
meant to have a short lifespan and then be discarded. 


That's what ephemera are, things that should have 
been thrown away. In that respect I guess I could have 
called this column Memoirs of a Garbage Collector. I 
can feel my wife, Debbie, nodding her agreement in 
the background. 

Now I collect Alice-related articles and ads from 
newspapers and magazines, playbills, posters, cata- 
logs, product packaging (boxes, wrappers, tins), 
paper plates, cups, and napkins, wooden pencils, 
matchbooks, soap, and a plethora of other Alice para- 
phernalia. The wonder of collecting is that just when 
you think you've seen it all, something pops up that 
you never even imagined in your wildest Wonderland 
dreams. Recently I saw a set of Alice cane heads circa 
1890 (wait for it) . . . made out of cheese! I don't 
know about you, but that is beyond my realm of com- 
prehension, and no, I didn't buy them. 

Why do I collect ephemera? One answer is the 
Mt. Everest one — because it's there. I spend so much 
time looking for Alice collectibles that it is inevitable 
that I come across Alice ephemera. I acquired some 
small Alice collections that contained ephemera, and 
I wasn't exactly going to throw them away. Eventually 
I found the ephemeral items as interesting as the rest 
of my collection. This mass of ephemera personifies 
in a tangible form the influence that the Alice books 
have had on so many people for so many years. When 
I show this collection of ordinary things to people 
who want to know why I collect Alice, they can't help 
but realize that Alice is a societal icon as well as a liter- 
ary one, and well worth collecting. 

Alice in the popular culture has become the new 
focus of my collecting activities. Even readers of the 
Knight Letter might be surprised by the range of prod- 
ucts that have used Alice in their advertisements as 
a vehicle to reach the general public. A short list 
includes (in no particular order) finance, alcoholic 
beverages, electronics, appliances, textiles, food, 
transportation, and even advertising itself (that's ad- 
vertising for advertising). People don't realize how 
often Alice references occur in their everyday lives, 
until you mention it to them. Once they are made 
aware, they are amazed at how prevalent Alice is in our 

When it comes to naming a favorite item, I'm 
afraid my ego must come to the forefront, because it 
is an article in the Chicago Tribune about my finding a 
likely inspiration for Carroll's Cheshire Cat while on a 
trip to Croft. Whether or not this was the inspiration 
for the Cheshire Cat is not critically important. What is 
important is that the story hit the wire services the very 
next day and appeared in unbelievably diverse maga- 
zines, newspapers, and radio shows. This proves that 
Lewis Carroll is still a literary and pop culture icon. It 
also shows that there are still discoveries to be made. 
All of which makes me believe that people will be col- 
lecting Carrolliana for years to come, which these days 
is one of the few signs of intelligent life on Earth. 

Other favorite items are also of a personal na- 
ture. The bookplate of the Maxine Schaefer Memo- 
rial Reading is a prime example. This bookplate is 
placed in Alice books that are given to children at 
readings. It is a reminder of a dear friend and a sym- 
bol of a great cause. Then there is the more whimsical 
hippy dippy Cheshire Cat patch that a coworker gave 
me from his wife's old jeans. It always brings a smile. 
Guinness used Alice in their advertising for decades, 
and their pamphlets are of the highest quality. I hesi- 
tate to call these ephemera. I am quite fond of my set 
of Gerald King stamp covers (riddled with faux bul- 
let holes and addressed to Al Capone, 
John Dillinger, and the like) made for 
the Chicago APEX stamp show, because 
of their local connection for me (not 
that there are gangsters in Chicago any- 
more). Items like the Betty Boop in Won- 
derland sticker have crossover appeal 
to collectors of cartoons, stickers, and 
Betty Boop, as well as Alice in Won- 
derland. Little items like boxes, pins, 
matchbooks, and bottle caps abound. 
Individual items may be insignificant 
in and of themselves, but it is the enor- 
mous scope of the collection that is so 

I actually feel that I am now collecting 
collectors. I collect them as friends, I collect catalogs 
of their exhibitions, and items from their collections. 
To have items that were once in a well-known collec- 
tion is a true joy to me, as it links me to them in an 
almost spiritual way. I am proud to own items from 
the collections of Morris Parrish,Joe Brabant, Hilda 
Bohem, and Stan Marx, to mention a few. I have 
grown to feel that collections and the collectors who 
create them are complementary to the subject being 
collected. This could be the ego creeping in again, 
but I don't think so. Carroll collectors are family. 

One other thing I should mention is the com- 
petitive aspect of collecting. Collectors all say they 
simply collect for their own enjoyment, but most (if 
not all) have a modicum of competitiveness in them. 
How can collectors compete with someone who has 
significantly more resources (a polite way of saying 
infinitely more money) than they do? They can't, at 
least not when it comes to rare books, photos, letters, 
and the like. Ah, but when it comes to ephemera, the 
playing field levels out considerably. Money is much 
less critical in this arena, and it is time and effort that 
win the day. Now some may say that they are not inter- 
ested in collecting something as mundane as ephem- 
era, but I prefer to think that this is a case of sour 
grapes, and I'm sure somewhere someone is collect- 
ing sour grapes, too. 

The obstacles to collecting ephemera are fewer 
now than they were fifteen years ago. When I started 

collecting, the mantra was, "It's too late to start a Car- 
roll collection, because the best things are gone and 
the prices are too high." Well, since the advent of the 
Internet, the prices have come down and the accessi- 
bility has gone up. After almost 30 years of serious col- 
lecting, I see more new things in a month than I used 
to see in years. So I say the best time to start collecting 
Alice is always right now. Part of my reason for creat- 
ing the Alice in Wonderland Collectors Network was 
to have a forum where collectors could share infor- 
mation and sell or swap duplicate items. I always buy 
duplicate Alice items when I find them at reasonable 
prices. I know that more collectors 
will be entering the fray every year, 
so there will always be a market 
for them. This is a win/win situ- 
ation — the novice collector is 
happy to find the items, and I can 
offset some of the cost of my own 
addiction, I mean collection. I 
wish more people had done this 
when I was starting out. I find 
that, given the opportunity to 
help a fellow collector, most will 
do so generously. 

To be a successful collector, 
make sure you are happy doing it. 
If it becomes more like work, step back 
and take a breath, then return to the endeavor 
only when you are refreshed. It is okay to get upset 
because you made a mistake and bought something 
that was way overpriced, or passed on something that 
was a great find. Of course, if you make a habit of 
it, maybe collecting is not the right pastime for you. 
At any rate, don't dwell on it, just learn and go on. 
Sometimes the hunt can become all-consuming, so 
make sure you take time to revisit your own collec- 
tion and bask in the utter joy of it. Probably the best 
way to enjoy your collection is to show it off to those 
who will appreciate it, but I still recommend that you 
reflect on it in private. Sometimes the best collectible 
hunting is in your own home. You would be surprised 
at how many things you can forget that you already 
have, and rediscovery is as good as finding something 
new (and it is a lot cheaper). 

I mentioned the Alice in Wonderland Collectors 
Network pictorial catalog of collectibles (http://www. above. This is my latest 
project and a source of great pride. I started this proj- 
ect on October 29, 2006, and already, with the help of 
some of my fellow collectors, there are nearly 2,000 
entries. Modesty does not preclude me from saying 
it will be the best Alice collector resource ever. As of 
now it does not include books, but I am currently 
considering the best way to list them. I am still open 
to more help on this project, but at any rate, please 
visit the site and leave a comment. 




Edgar and Jessica Kelley at the piano. © 2007 Miami University, all rights reserved and used with permission. 

On the afternoon of Wednesday, May 4, 1932, 
at the Columbia University Gymnasium, 
the Lewis Carroll Centenary Celebration 
was under way, with remarks from the president of 
the university, Nicholas Murray Butler, and the guest 
of honor, Mrs. Alice Pleasance Hargreaves, followed 
by a speech by Professor Harry Morgan Ayres. The 
musical program, consisting of "Selections from the 
Suite 'Alice in Wonderland' for Women's Chorus and 
Orchestra," by Edgar Stillman Kelley, was about to 
begin. An assembled mass of 350 singers and musi- 
cians — the Hunter College Glee Club, the Barnard 
Glee Club, and the Columbia University Orchestra, 
all under the direction of Professor Lowell P. Bev- 
eridge — soon permeated the hall with opulent rendi- 

tions of "Alice Is Coming" and "Alice's Banquet." Mrs. 
Hargreaves was said to be visibly moved. 

That performance, in a time before ubiquitous 
video cameras and cell phones, has been lost to us. 1 
However, a glimpse into Kelley 's work may be found 
today in Brian Kovach's fine recording 2 of the suite's 
incarnation as a piano piece, 3 although the two spe- 
cific selections played at the centenary fete are not 
among those Kovach chose to record. More later. But 
behind all this is a poignant tale. 

Edgar Stillman Kelley (1857-1944), once hailed 
as the "American Wagner," was perhaps America's 
most renowned classical composer at the turn of the 
century, 4 but has now been long forgotten. He grew 
up in the frontier town of Sparta, Wisconsin, and later 


attended the Stuttgart Conservatory, studying compo- 
sition and orchestration with Max Seifriz, director of 
the Royal Opera, a man who hobnobbed with Wag- 
ner, Liszt, and Berlioz. After his studies, in 1880, Kel- 
ley sailed to San Francisco, beginning his American 
career humbly as a church organist and performer at 
society weddings. 

He soon met and married a talented pianist and 
singer named Jessica (Jessie) Gregg; the young couple 
divided their time among California, New York, and 
New Haven. After Victor Herbert published Kelley's 
Album-Leaf in The World's Best Composers: Famous Com- 
positions for the Piano, the Kelleys accepted several invi- 
tations to stay in Europe, visiting, among others, An- 
tonin Dvorak, in Prague. Here Kelley was welcomed 
as America's preeminent composer; the Kelleys, not 
seeing fit to argue the point, remained in Bohemia 
for eight years. 

Kelley continued to compose and to conduct 
performances of his works, receiving a gold medal at 
the international Wagner Festival in 1903. In 1910, 
Jessica accepted a position as director of piano music 
at Western College for Women in Oxford (!!), Ohio. 
Kelley was given a fellowship, which would allow him 
the freedom to concentrate on his composition, and 
thereby became the first creative artist-in-residence at 
an American college or university. 

Kelley directed the premiere of his Alice in Worc- 
derland Suite at the Norfolk Music Festival on June 5, 
1919. An expanded orchestral version was presented 
several times in Cincinnati as a two-act ballet and, of 
course, at the Columbia celebrations thirteen years 

Among the greatest orchestral and choral works 
of this admirable composer, performed often dur- 
ing his lifetime, were the New England Symphony, the 
comic opera Puritania, incidental music to Macbeth, 
The Pilgrim's Progress oratorio, and the Gulliver Sym- 
phony. His vocal and instrumental music for a stage 
adaptation of Lew Wallace's Ben Hur achieved enor- 

mous popularity; the musical is said to have been pro- 
duced more than six thousand times in countries all 
over the world. He also wrote a biography, Chopin the 
Composer, still in print, and numerous articles. 

His Ozymandian tale rubs shoulders with our 
interest in Alice only in one particular event, com- 
memorated most recently at our Spring meeting, 
but his was a long and productive life. The Western 
College Memorial Archives, part of the Miami Uni- 
versity libraries, 5 includes the Edgar Stillman Kelley 
Collection, with extensive memorabilia. 6 Their hold- 
ings include the complete orchestral score for the 
Alice in Wonderland Suite, so it is not beyond hope that 
someday an orchestra may choose to play it, perhaps 
with a bit of encouragement from us. A celebration of 
Kelley's life and works was held at Miami University 
on March 25, 2007. 

1 A dim ray of hope may remain in the University of South 
Carolina archives of unused footage for the Fox Movietonews 
reels. They are in the process of compiling a master 
inventory, but decades ago Fox experienced a small vault fire 
at its New Jersey Movietone vaults, and most of the footage 
from these years was irreparably damaged. 

2 Edgar Stillman Kelley: Complete Works for Piano Including Alice 
in Wonderland, Albany Records #Troy 225, 1997. 

3 The Complete Piano Works of Edgar Stillman Kelley, published in 
2000 by Mel Bay Publications, is now out of print but can be 
found online. 

4 Scott Joplin and John Phillip Sousa notwithstanding. 

5 Western College closed its doors in 1974, their physical 
facilities merging with Miami University. The seventh public 
college founded in the United States, Miami University 
dates back to a grant of land made in Congress by George 
Washington on May 5, 1792. Named for the Miami tribe 

of Algonquian Indians who inhabited the area, it bears no 
relation to the city in Florida. 

6 His archives can be visited at http://staff.lib. muohio. 
edu/westernarchives/kelley/. The specific holdings related 
to the Suite C2lx\ be found at 





3n Jfflemoriam 

Ivor Wynne Jones 

Ivor Wynne Jones of Llandudno, Wales, died 
early in April after a short illness. He was a 
founding member of the Lewis Carroll Society 
(U.K.) and ajournalist, equally at ease writing 
a weekly column from his home in Wales as he 
was traveling to war zones halfway around the 
world. Ivor also was a gifted raconteur, a kind 
host, and an astonishing spring of apparently 
limitless information. A conversation with him 
was usually a lengthy plunge 
down a rabbit-hole that could 
lead anywhere. 

I always enjoyed talking to Ivor, 
not just because the content was 
unique, but because his speech 
was punctuated with a Carrollian 
sound effect. Alan White described 
it as "a cross between a chuckle and 
a giggle." This was actually a joyful 
exclamation that preceded an an- 
swer to a question, as in: "How does 
one pronounce I-A-I-N PEARS?" 
"O, weeeeell [unreproducible noise] 
obviously that is a corruption of 
PEEehhss...." and it would be followed by a lengthy 
disquisition on etymologies, orthography, and why 
Welsh names were the best. 

I am afraid Wales has lost its staunchest ad- 
vocate. Ivor, who rarely missed a Lewis Carroll 
Society summer outing, organized the 1999 
junket to Llandudno, where the young Alice 
Liddell's father built an enormous summer 
home, Penmorfa. Ivor was described by a col- 
league as a writer who treated everyone, high 
and low, "without fear or favor." That included 

disabusing the owners of the former Penmorfa 
(by then a hotel) of their cherished notions 
that (a) Charles Dodgson had been a frequent 
visitor there and (b) the painting in the drawing 
room was by John Tenniel. It was the second ob- 
servation that got our group tossed out of Gog- 
arth Abbey/Penmorfa before we had finished 
our tea. Ivor lamented the curious fixation on 
Dodgson's presence at Penmorfa (he did visit 
Wales as a child) when there 
was so much of the Alice con- 
nection that was real. His book 
Alice's Welsh Wonderland was a 
keepsake from the outing. 

Ivor liked anyone who ap- 
preciated his beloved Wales. 
Once my friend Mary, whom 
Ivor had never met, called on 
Ivor and his wife, Jeanette. 
They would not hear of her 
touring alone, but insisted on 
taking her sightseeing — for 
five days. Mary, who has since 
ascended to that great tea party 
in the sky, told me it was the best vacation she 
had ever had. She was overwhelmed by Ivor and 
Jeanette's generosity. 

Someone once said that the Society's great- 
est gift to its members is the opportunity for 
friendships to develop. That is indeed true, and 
now we have to say goodbye to a dear friend, 
Ivor Wynne Jones. He would have known how to 
say requiescat in pace in Welsh. 

— Cindy Watter 




Gyorgy Ligeti 

Avant-garde composer Gyorgy Ligeti, who once considered composing an Alice in 
Wonderland opera, died in June 2006 at the age of 83, this composition unfortu- 
nately never undertaken. Although Ligeti was probably best known for writing 
some of music used by Stanley Kubrick (without permission) for the soundtrack 
of 2001: A Space Odyssey, he also composed two "Nonsense Madrigals" set to Car- 
roll's words: "The Lobster Quadrille" and "A Long Sad Tale." 


Carrollkn Notes 


Swimming up through sleep. Soul 
singers swoon. Lewis Carroll rows 
his boat across the lake, Alice at 
the prow.-Tolstoy Lied, A Love Story, 
by Rachel Radish 

The Isis, upon which "Lewis Carroll " 
roxued, is a river, not a lake. 


According to the Madison Public 
Library website, "If you're think- 
ing Mental Floss: The Genius In- 
struction Manual is your standard 
'factoid' collection, don't. Not 
only is it chock full of fun facts 
(Charles Darwin, Albert Einstein, 
Edgar Allan Poe, and Lewis Car- 
roll all married their cousins), but 
the writing displays a special (and 
funny) genius all its own." 

It would be even more fun if it were 
accurate. Unless someone has recently 
unearthed revelatory materials to the 
contrary, CLD died unmarried. His 
father, of course, did marry a cousin. 


The "Gossip with Gerrick" column 
of April 6 (The Lantern, Ohio 
State University) states that "Relly 
Osbourne is set to star with the 
"OC's" Mischa Barton in a new 
movie, 'Malice in Sunderland,' 
based on the Lewis Carroll tale 
about a walrus and carpenter." 

Among other things. 


This poem appeared in Punch on 
September 3, 1892, about a month 
before the appearance of Harry 
Furniss 's cartoon of "The Jerry-Build- 
ingjabberwock " (see RL 74: 1 6). 
Apparently, Londoners were belatedly 
worried about the city 's spread and the 
loss of rural land. Interesting to see 
these different uses of Carroll on the 
same subject. 

The sun was shining on the fog, 
Shining with all his might; 

He did his very best to make 
The London day look bright 

And yet it seemed as though 
it were 
The middle of the night. 

The Builder and the Architect 
Were walking close at hand; 

They wept like anything to see 
Such eligible land; 

"If this were only built upon," 

They said, "it would be grand!" 

"Oh, Tenants, come and live 
with us!" 
The Builder did entreat, 
And take a little villa in 

This countrified retreat, 
Where stand straight rows of 
So very new and neat!" 

The elder Tenants looked at him, 

But never a word said they; 
The elder Tenants winked their 
As though they meant to say, 
"Old birds, like we, are never 
By chaff in such a way." 


But four young Tenants 
hurried up, 
Each eager to rent one; 
Their looks were pale, the faces 
Like muffins underdone 
Which was not odd, because, 
you know, 
They never saw the sun. 

The Builder and the Architect 

Went on a year or so 
Building damp villas on damp 

Conveniently low; 
And still some houses stood 

Quite empty in the row. 

"I cannot think," the Builder 

"Why people should complain 
Of mortar made of mud from 

Or roofs that let in rain, 
Or sewer-gas that comes from an 

Unventilated drain. 
"A fair return," the Builder said, 

"Two hundred, say, per cent., 
Is all the profit that I want 

On anything I've spent. 
Now, if you're ready, Tenants 

I'll take the quarter's rent." 

"But not from us," The Tenants 
"The houses are so new, 

They've made us all so very ill 
We don't know what to do." 
"The County Court," the Builder 
"Is very near to you." 

"I tell you what," the Builder 

"I fear that I must seize 
Your furniture, unless you pay; 

So fork out, if you please." 
And even he, in that damp air, 

Began to cough and sneeze. 

"Oh Tenants," said the Architect, 

"Just think what I have done, 
Designing such aesthetic homes!" 
But answer came there 
none — 
And this was scarcely odd, 
They'd perished every one. 


Reviewed by Elaine Mingus 

Written by Laurie Thomas, di- 
rected by Jacqueline Reid, and 
performed by the Fusion Theatre 
Company at The Cell in Albuquer- 
que, New Mexico, with original 
music by the ensemble Playroom. 

The company's web site describes 
the play: "Beyond his 'Alice' 
stories and Jabberwocky,' Lewis 
Carroll was also a photographic 
pioneer, whose images elicit ad- 
miration and whose contact with 
children — the frequent subject of 
his art — has prompted wonder, 
curiosity, and revulsion in the 100 
years since his death. Ms. Thomas 
draws on new scholarship focusing 
on Carroll's recently released, in- 
credible personal journals — sealed 
and portions destroyed over the 
years by his literary executors and 
heirs — as well as past and current 
myths surrounding this complex 
man as she weaves those themes in 
a grown-up fairy tale that explores 
our own perceptions of art and 
love. Come to be provoked, chal- 
lenged, and above all, entertained 
by a world of intrigue and wonder 
in Mad Hattr." 

I liked the play very much. I was 
glad that they depicted Dodgson 
as not acting out any erotic feel- 
ings he might have had. However, 
from my point of view, the sexual 
was stressed a little too much; and 
the fact that they had Mrs. Henry 
Liddell as "the temptress" didn't 
help, either. 

The Cell is a very small theater 
with seats on all four sides of the 
stage. A boat was very prominent 
for two key scenes. Dodgson 's 
photography was emphasized, 
with the camera on a tripod also 
prominent. There were some very 
good props such as flamingos, 
chess pieces, a head of the white 
rabbit, and a Cheshire cat (which 
they may auction off when the play 
is done). 

All of the actors and actresses 
were very good, especially those 
playing Alice and Dodgson/Car- 
roll himself, as well as Isa Bowman. 
Henry Liddell was rendered as 
a humorous character (another 
surprise). Another delightful char- 
acter was Oxford professor and 
theologian Canon Edward Pusey. 

Altogether, I would not have 
missed it. It was very entertaining, 
even if it didn't adhere strictly to 
the facts about Mr. Dodgson 's life. 


An alternate review 
by Jonathan Dixon 

Well, I am just mortified. 

After almost two decades of im- 
mersion in the works and history 
of Charles Dodgson, often toward 
the purpose of trying to faithfully 
capture that elusive spirit called 
"Carrollian" in illustrating his 
works, I thought that I had gained 
at least some sense of the man. 

I've read his letters, his diaries, 
reminiscences by those who knew 
him, and a majority of his pub- 
lished works, including Sylvie and 
Bruno. I've visited with his great- 
nephew — for whom I did some 
genealogical research in a village 
in the North of England — and 
wandered many of the environs 
that shaped Dodgson, including 
his childhood home in Croft, his 
Oxford rooms at Christ Church, 
his family home in Guildford, and 
his favorite vacation spot in East- 

And yet, after seeing the play 
Mad Hattr, by Laurie Thomas, 
presented by the Fusion Theatre 
Company of Albuquerque, I real- 
ize that I've known nothing. 

Well, now my eyes are wide 
open! I simply had no idea that 
Charles Dodgson — whom I've 
always imagined to be a basically 
kind, modest, reserved man — was, 
in reality, a half-demented, self- 
centered, abusive, tortured, con- 
trolling, Byronic genius who was 
forced to swill large quantities of 


absinthe in order to cope with the 
raging demands of his muse. I had 
no idea that he was such an angry, 
angry person, speaking most of 
the time in something between a 
rage and a fury. 

It must be noted, in fairness, 
however, that the booze was also 
consumed in a desperate bid 
to numb the pain and guilt of 
Dodgson's torrid secret romance 
with Mrs. Liddell. (In the end, 
though, she eventually rejected 
him for reasons of social stand- 
ing — even though her marriage to 
Dean Henry Liddell was a tragic, 
unhappy facade because the Dean 
was secretly gay.) 

Did you know that steamy af- 
fair was the real reason Dodgson 
didn't take holy orders? Neither 
did I — until now. I suppose it 
simply wasn't enough to have Isa 
Bowman and Ellen Terry throwing 
themselves at him. (Doggone it! 
Why don't they print any of this 
truth — like that Carroll was a total 
babe magnet — in the Knight Letter} 
Just plain irresponsible, I call it.) 

Sigh. All of this was presented 
to the audience as unassailable 
fact, of course. I suspect, more- 
over, that unlike me, most audi- 
ence members had little or no ex- 
perience with Dodgson to contrast 
with the playwright's distortions. 

Oh, yes, and of course the 
director included the obligatory 
nightmarish fantasy sequence in 
which all the characters danced 
crazily to Grace Slick singing 
"White Rabbit." Still, the actors did 
pronounce "Dodgson" correctly, 
and one of them had on quite a 
nice pair of shoes. 



Reviewed by Patt Griffin-Miller 

Lookingglass Alice at The New Vic- 
tory Theater, 42nd Street, New 
York City, February 9-25; Arden 
Theatre, Philadelphia, May 
10-June 10; Lookingglass The- 
atre, Chicago, beginning June 21. 
Script adapted and directed by 
Lookingglass Theatre's artistic di- 
rector, David Catlin. Cast featured 
Lauren Hirte as Alice, with Larry 
DeStasi, Anthony Fleming III, 
Doug Hara, and Tony Hernandez 
playing a variety of roles. Tickets, 
theater information, and video 
blog at www.lookingglassmagazine. 

Picture Alice on a trapeze 
swinging away with neo-Victorian 
abandon; the Caterpillar (made 
up of a trio of plucky acrobats) 
contorting from stage left to stage 
right; the Red Queen, glower- 
ing and towering on uber-stilts, 
in a multi-tiered wig (think 
vermilion ice-cream scoops) ; 
the White Knight on a bicycle, 
careening madly down center 
stage; the Tweedle brothers reviv- 
ing the lost art of slam-dancing; 

Humpty Dumpty letting go in a 
show-stopper of a fall — plus bird 
calls, bongo drums, showers of 
shoes, and a score running from 
bossa nova to tango to hip-hop, 
the whole lot infused with both 
tweaked and verbatim dialogue 
from the Alice books. 

Purists might bemoan the now 
de rigueur overlap of Wonderland 
and Looking-Glass characters — as 
well as the haphazard assigning 
of dialogue (the Red Queen and 
the Queen of Hearts were virtually 
interchangeable) — but I can't say 
I've ever seen a show more true 
to the Carrollian spirit than this 
brilliantly conceived and executed 
Lookingglass Theatre Company 

The energy generated by the 
five-person cast translated into an 
eccentric, circus-inspired homage 
to all things Alice, teeming with 
imagination and humor. I can 
only hope that, at some point, this 
Chicago-based group will commit 
Lookingglass Alice to video, if for no 
other reason than to share their 
vision with the many Alice fans un- 
able to attend performances, and 
ensure a lasting record of their 
singular approach to Alice's ever- 
evolving adventures. 

PEANUTS By Charles 






FEET HISH... ; ' 


^?r" ** 

* % I MUST BE 

AbAiNi:: ^ 


The Henry Altemus Company: 

A History and Pictorial Bibliography 

by Cary Sternick, 2005. Softcover, 

8'/l> x 11 in., unpaginated. 

Available from the author at 

Revieioed by Clare Imholtz 

Self-taught amateur bibliographer- 
enthusiasts have contributed so 
much to Carrollian bibliography, 
and this impressive work by Cary 
Sternick is no exception. Although 
Lewis Carroll is not at all the focus 
of Sternick's book, which covers 
all the publications of the Henry 
Altemus Company, he is well rep- 
resented here. 

The book opens with a brief 
history of the Henry Altemus 
Company. Next come descriptions 
of the 203 major series that Alte- 
mus published, followed by 102 
glossy pages of color photographs 
of book covers, usually 12 per 
page, grouped by series. Several 
Alices are included. The Bibliog- 
raphy proper is next. This section 
is also arranged by series, and 
descriptions are provided at the 
series level. Included is informa- 
tion on bindings, size, dates, and 
special features where present. 
Finally, both author and title indi- 
ces are present. Considering the 
incredibly large number of diverse 
products published by Altemus 
and covered in this bibliography, 
the author is to be commended 
for finding such a usable format. 

Hilda Bohem, in her article 
"Alice's Adventures with Altemus 
(and Vice-Versa)" in Papers of the 
Bibliographical Society of America 
(vol. 3, 1979, pp. 432-442), called 
Altemus books "something of 
a bibliographical Wonderland 
perhaps better left unvisited," 
though she hastened to add, "but 
as part of the publication history 
of Alice, [they] are hard to ignore." 
Altemus series can be very confus- 
ing, to say the least. Sometimes 
there were multiple series with the 
same series title; sometimes the 
same cover designs were used for 
different series. While this book 
goes a long way toward sorting the 

o^ and x, 

confusion, the author's descrip- 
tions are not always models of clar- 
ity, and perhaps this is not surpris- 
ing given the size of the task he 
has undertaken. Quoting Hilda's 
article again, "To describe the pub- 
lication history of Alice at hands of 
the Henry Altemus Company is an 
exercise in imprecision." 

Vademecum was one of the larg- 
est series; it is uncertain how many 
different Alice covers were pub- 
lished in this series, but the num- 
ber is apparently quite large. Young 
People s Library was one of the most 
popular and longest running se- 
ries, in which the two most iconic 
Alice and Looking-Glass Altemus 
covers are to be found: the Duch- 
ess and the Baby for Alice and the 
Tweedles for Looking-Glass. These, 
and several other Alices that we 
know and love, are pictured. L'art 
Nouveau, Marqueterie, and Reviere 
are three of the series in which 
the rarer Alice Altemuses can be 
found; each of these series lasted 
only one year. 

Sternick informs us that vir- 
tually every book published by 
Altemus Company in 1892 and 
thereafter was either jacketed or 
boxed. Of course, these boxes 
and jackets are quite rare today 
(pleaselet me know if you have any 
to offer). But most unjacketed, 
unboxed Altemus editions are not 
rare. Nonetheless they have been 
selling for increasingly high prices, 
due in part to the phenomenon I 
call the "eBay effect," and in part 
to the relative scarcity of titles in 
some series. 

Bibliography is an obsessive 
activity, and it is obvious that Ster- 
nick has thoroughly and deeply 

researched his subject. Unfortu- 
nately, he has failed to provide a 
list of his sources, a fault which 
I hope can be rectified in future 
editions. Despite this shortcoming, 
this is a very useful bibliography 
to collectors of late 19 th and early 
20 th century American Alices and 
other titles. One wishes similar 
well-researched, well-illustrated 
bibliographies were available for 
other U.S. reprint publishers, such 
as Caldwell and Hurst. 

Mr. Sternick has offered to 
write an article on Altemus Alices 
in the next KL. In the meantime, 
he is continually updating this 
amazing bibliography at www. 


Lost Girls 

Alan Moore (writer) 

and Melinda Gebbie (artist) 

Published by Top Shelf 

Atlanta/Portland, 2006 

Reviewed by Andrew Sellon 

From the slipcase: "Drawing on 
the rich heritage of erotica, Lost 
Girls is the rediscovery of the 
power of ecstatic writing and art 
in a sublime union that only the 
medium of comics can achieve. 
Exquisite, thoughtful, and human, 
Lost Girls is a work of breathtaking 
scope that challenges the very no- 
tion of art fettered by convention. 
This is erotic fiction at its finest." 
I will go so far as to agree that 
the edition is elegantly produced, 
in three jacketed volumes with a 
coordinating slipcase, and that 
obviously massive amounts of love, 
work, and money were put into 
this project by all involved. Mr. 
Moore, Ms. Gebbie, and their pro- 
duction team deserve great credit 
for realizing their vision in such a 
high-quality edition. And granted, 
this illustrated novel is hardly the 
first time that Carroll's Alice has 
been sexualized. It is, however, the 
first time she has had Oz's Dorothy 
Gale and Peter Pans Wendy Dar- 
ling along for the ride. 


As this is an illustrated novel, 
the graphics are of course at least 
half, if not more, of the story. 
And graphic is what they are; this 
trilogy is not for those easily of- 
fended. The first chapter of the 
first book has a fun visual con- 
ceit — it is played out entirely in 
the reflections seen in the adult 
Alice's looking-glass. In the course 
of the three books, Ms. Gebbie 
shows herself to be accomplished 
in an impressive variety of illustra- 
tive styles, paying homage to eroti- 
cally inclined artists such as Au- 
brey Beardsley with great success 
along the way. There are many im- 
ages with beauty to them — though, 
oddly, in a few of the smaller 
frames, some images look unfin- 
ished and jarringly cartoonish. Mr. 
Moore's text, likewise, takes great 
pains to weave in well-placed little 
throwaway quotes and paraphrases 
from the original source books, 
sometimes to bittersweet effect. 
On one level, this epic shows no 
small amount of love and respect 
for its three heroines. But of 
course, the creators also intend 
to shock us a bit, or they wouldn't 
have spent three volumes show- 
ing three of children's literature's 
most virginal characters grown up 
and indulging in virtually every 
form of sexual gratification the 
authors could call to mind, with 
a cast of characters that includes 
human, bestial, and metallic part- 
ners. And by the time I reached 
the end, I had literally lost count 
of the number of strap-on sex toys 
the three heroines had applied to 
each other. So on another level, 
the book fails precisely where it 
claims it will inspire ecstasy. 

Ultimately, the creators seem 
to have a desire for this lengthy 
tale to be taken seriously, because 
all three women purportedly have 
sexual issues to work out, and 
because, while they fiddle (as it 
were), the flames of war begin to 
threaten the Austrian hotel where 
they hold their apparently nonstop 
orgies. This is not virgin thematic 
territory; Christopher Isherwood 

and others have been here before, 
and to greater effect. For me, 
Lost Girls contains a fundamental 
disconnect and a bit of a double 
standard. It seems to be saying that 
all three women are on some level 
"saved" by awakening and/or tak- 
ing charge of their sexual selves. 
Yet it seems they are also implicitly 
criticized for ignoring the loom- 
ing political changes in the world. 
And unfortunately, while the work 
is visually impressive to behold 
throughout, taken in toto (sorry, 
Dorothy), it becomes surprisingly 
unerotic, repetitive, and dull. Did 
I need to see Alice as an opium-ad- 
dicted older lesbian with a thing 
for younger women? No. But I was 
willing to go along for the ride 
to see if the authors had any new 
insights to offer. Regrettably, as 
a work of erotic fiction, Lost Girls 
left this reader feeling somewhat 

Alice in Sunderland 

Bryan Talbot 

Published by Dark Horse Comics, 

Milwaukie, Oregon, 2007 

Reviewed by Andrew Sellon 

Every once in a while a work comes 
along that is extraordinarily diffi- 
cult to classify — to quote Polonius: 
"tragedy, comedy, history, pastoral, 
pastoral-comical, historical-pas- 
toral, tragical-historical, tragical- 
comical-historical-pastoral. . . ." 
Bryan Talbot's eccentric illustrated 
novel Alice in Sunderland is all of 
these things. It is also magnificent. 
Like Moore and Gebbie's recent 
Lost Girls trilogy, Talbot's new work 
is clearly a labor of love. Given the 
breadth of topics explored in his 
previous illustrated novels — like 
the Luther Arkwright adventures 
and the exploration of child abuse 
in The Tale of One Bad Rat — no 
one could have predicted where 
his vivid and singular imagination 
would alight next. Carrollians, and 
readers of all types, should thank 
their lucky twinkling little stars that 
he has now brought forth Alice in 

To say that the book is ambi- 
tious is to understate. The in- 
spiration for the project came 
when Talbot and his wife, Mary, 
moved into the Sunderland area 
of England, only to find it burst- 
ing at the seams with connections 
to both Lewis Carroll and Alice, 
not to mention with thousands of 
fascinating tidbits and factoids of 
English history. Sometimes when 
an author includes himself as a 
character in the pages of a work, it 
can seem an act of hubris. But in 
this highly personal strolling tour, 
Talbot is the essential guide — or 
in this case guides, as he actu- 
ally takes on three personae: the 
Plebian, the Performer, and the 
Pilgrim (each an entertaining 
variation on the real Bryan Talbot, 
whose image also appears late in 
the book) . Talbot starts us off at 
the Sunderland Empire Theatre, a 
real former vaudeville house, and 
uses the concept of a vaudeville 
performance to present his story 
in a series of dreamily linked tales. 
Adding to the visual delights, each 
time he presents a self-contained 
story, he illustrates it in a differ- 
ent style, paying homage to comic 
illustrative art over the decades — 
Mad magazine, Tintin, A Boy's 
Own Adventures, and more. For 
his recounting of "Jabberwocky," 
he doffs his quill to John Tenniel 
himself, rendering every line and 
mark of cross-hatching by hand. 
Taken as a whole, the work be- 
comes something of an informal, 
expertly rendered history of comic 
book art. 

It should be noted that the 
book is not a quick read. It is 
large, heavy, and saturated — liter- 
ally and figuratively — on every 
page, with fascinating things to 
read and see wherever the eye 
falls. In fact, each page is its own 
work of art, and you will doubtless 
find yourself dwelling on them at 
some length, reluctant to turn the 
page too quickly for fear of miss- 
ing something. I will freely admit 
that, like Alice, I was never one for 
a book without pictures, so Tal- 


bot's book comes as a glorious an- 
tidote to all those dusty text-only 
history tomes of yore. He weaves 
in an extraordinary amount of 
both local and national informa- 
tion — this is no lightweight tour 
brochure — but always with visual 
style and often with naughty wit. 
If all history books were produced 
in this way, there would be a great 
many more educated people in 
the world. In terms of Carrollian 
scholarship, Talbot has done his 
homework there in eye-opening 
detail as well. And when address- 
ing areas of debate — like the 
reason for Dodgson's break with 
the Liddells — he is careful to cite 
current theories without drawing 
conclusions. He remains, wisely, a 
nonjudgmental and enthusiastic 
tour guide. 

The book is a gorgeously pro- 
duced hardcover epic; kudos to all 
for the extremely high production 
values. The cover is eye-catching, 
and the paper stock is excellent, 
with deep color saturation and 
crystal clarity, showing Talbot's 
Herculean visual accomplish- 
ments at their best. This is a book 
you will be proud to have on your 
shelf, and to share with others (if 
their hands are clean, of course). 
To quote Humpty Dumpty: "That's 
what you call a History of England, 
that is." And much, much more. 

A Town Like Alice's 

Michael Bute 

Sunderland: Heritage Press, 2006 

Reviewed by Sarah Adams 

Cited by Bryan Talbot as the in- 
spiration for Alice in Sunderland, A 
Town Like Alice's would be, I had 
hoped, if not as entertaining, at 
least as informative as Mr. Talbot's 
book. Unfortunately, where there 
is a method to Alice in Sunderland's 
madness, here there is, well, let's 
just say some of the theories are 
quite "out there." 

Mr. Bute has obviously spent 
years researching the history of 
Sunderland and the surround- 
ing region. From Alice's ances- 
tors "Edwin and Morcar, Earls 
of Mercia and Northumbria" 
to her cousin Frederica and 
Charles Dodgson's Wilcox cous- 
ins, the area is admittedly rich in 
Carrollian history and very likely 
did influence Dodgson's writ- 
ings. "Jabberwocky" is a parody of 
Anglo-Saxon poetry, so an obvi- 
ous influence would of course be 
the local legend of the Lambton 
Worm. And Alice's pig baby may 
indeed be ajoking reference to a 
popular poem about a pig passed 
off as a baby to avoid taxes. 

When the suppositions start 
piling up, however, the theories 
begin to be suspect. For example, 
references to both Alice's path 
across the Looking-Glass chessboard 
and to the Red Queen's path as 
she gives Alice her instructions for 
the game are said to be found in 
the array of carved stone shields 
decorating Sunderland's Hylton 
Castle, including the Boyton arms 
of three crescents (looking like 
biscuits with bites taken out) to 
represent "Have another biscuit." 
The two paths then lead respec- 
tively to the queening of Alice 
and to the Red Queen's statement 
"Remember who you are." It is 
suggested that Dodgson, knowing 
that Alice would be familiar with 
Hylton 's shields as her ancestors 
and relatives lived there, put in 
these references to remind Alice 
of her superior place to him in 
society, this being the reason they 
could never marry. "This is as 
near as possible in heraldry as one 
could get to symbolic logic." Or 
perhaps not. 

Yet the book itself shows care in 
its construction. Family trees (in- 
cluding how Queen Elizabeth II and 
Alice Liddell are related) , maps, and 
flow charts join photos, paintings, 
and playbills in illustrating Alice's, 
Carroll's, and Sunderland's history. 
Perhaps a more rigorous editing 
would have smoothed the obvious 

passion of the author and made 
the work more accessible. Yet who 
among Carrollians has not been led 
to imagine, see connections, and 
theorize to the limits of credulity? It 
must be, finally, up to the reader to 
decide whether to accept the logic 
of this work in exchange for the 
benefit of the information. 


We are planning to have an auc- 
tion at our Spring 2008 meeting 
in Washington, D.C., to raise 
funds for the Society. Our auc- 
tions have always been fun for the 
participants and beneficial for the 
Society. We would appreciate any 
donations of Carrollian books or 
memorabilia that are in very good 
condition or better. If you have 
an 1865 Alice to contribute, we 
might take it upon ourselves to 
ease the condition requirements 
just a little. When you decide what 
you wish to donate, please send 
a description of the item to our 
auctioneer, Joel Birenbaum, at 
2765 Shellingham Drive, Lisle, IL 
60532, or, better yet, email it to 
him atjoelbirenbaum@comcast. 
net. He will advise you where to 
send the items in 2008. 





SUMMER 2007 

Below are excellent additions for 
your collection, some offered at 
a substantial discount from their 
original price — now there's glory 
for you! 

Orders will be filled on a first- 
come, first-served basis, and the 

purchases will support future 
LCSNA publications. If you hesi- 
tate, these titles will softly and sud- 
denly vanish away. Please contact 
August Imholtz before placing 
your order to confirm availability 
at or 
11935 Beltsville Drive, Beltsville, 

MD 20705-4002. Given the limited 
supply, e-mail is recommended for 

Prices for the United States in- 
clude postage and handling. For- 
eign postage will be extra — please 
inquire for specific items. 






Westminster Abbey Evensong Program [Lewis Carroll Stone] 
Dec. 17, 1972 




Lewis Carroll: An Annotated Bibliography for 1974 




Leivis Carroll: An Annotated International Bibliography, 1960-77. 
Edited by Edward Guiliano 




Lewis Carroll and the Kitchens 




The Hunting of the Snark [Kaufmann limited edition] 




Lewis Carroll and Alice, 1832-1982 [Catalog of Morgan Library 
exhibition edited by Morton N. Cohen] 




Soaring with the Dodo: Essays on Lewis Carroll's Life and Art 
[edited by Edward Guiliano] 



!9 8 3 

The Hunting of the Snark [University of California Press, 
illustrated by Barry Moser, blue paper wrappers, signed 
and numbered] 




Feeding the Mind. Edited by Selwyn H. Goodacre 




The Hunting of the Snark. [illustrated J. Dixon] regular edition 




The Hunting of the Snark. [illustrated J. Dixon] deluxe edition 




Proceedings of the Second International Lewis Carroll Conference 




Stan Marx, 1919-1994 [includes "Jabberwocky" 
in Shaw Alphabet] 




The Mathematical Pamphlets of Charles L. Dodgson and Related 
Pieces. Collected Pamphlets of Lewis Carroll: Vol. 2 




In Memoriam Charles Lutwidge Dodgson. 

Edited by Charlie Lovett and August A. Imholtz, Jr. 




Sincerely, Lewis Carroll [Lindseth Grolier exhibit catalog] 




Lewis Carroll Society of North America, 1974-1999 
[25th Anniversary] 




Warren Weaver: Scientist, Humanitarian, Carrollian 
[edited by Charlie Lovett] 




Enough of a Muchness [Byron Sewell publications catalog] 




The Political Pamphlets and Letters of Charles L. Dodgson. 
Collected Pamphlets of Lewis Carroll: Vol. 3 






Alice in the antipathies: 
Alice-related tea parties, 
storytimes, and book discus- 
sions took place through 
June at the State Library 
of Tasmania: http://www. 
Additionally, Alice at the All- 
port is an online display of 
Alice-inspired artworks exhib- 
ited at the Allport Library 
and Museum of Fine Arts: 

In honor of the anniversary of 
Lewis Carroll's birthday, a new 
exhibit is on display in the Julia 
Rogers Library at Goucher College, 
Baltimore, Maryland. See http:// 6278. xml. 

Commemorating the 175th anni- 
versary of the birth of Charles L. 
Dodgson, Fran Abeles has pub- 
lished "Lewis Carroll's Visual 
Logic" in History and Philosophy of 
Logic, vol. 28 (February 2007), 1- 
17. The article is the second half 
of a study of Dodgson 's logic apart 
from the "Alice" books. The first 
half, "Lewis Carroll's Formal 
Logic," appeared in the same 
journal in 2005. 

The Oxford University Press 
began their online book club in 
April with (what else?) Alice's Ad- 
ventures in Wonderland: http:// 
adventures_in_wonderland/, with 
further links at 

"To celebrate the 150th anni- 
versary of the Brookline Library 
(Brookline, Mass.), the entire 
community will read Alice in 
Wonderland. We are framing our 
presentations with 21st-century 
interpretations beginning with 
an original jazz piece written by 
Brookline resident/composer, Ran 
Blake. Several sections of his piece 
will be played over parts of the 

r7v*om Of/i € &a/'-£r7an<j 
G ow*e<sh on (/en t& 


DVD of Dreamchild, which we will 
be presenting several weeks later 
in its entirety along with the 1933 
Alice in Wonderland. Our programs 
end with a lecture by Rod Espinosa, 
author of the New Alice in Wonder- 
land in the 21st century graphic 
novel format. In between, we re- 
turn to the 19th century for book 
discussions, chess matches, a puzzle 
afternoon, several Mad Hatter's 
Parties for the younger children 
and an adult discussion on "The 
language of fantasy" with local 
authors and artists. The meeting 
room for our Main Library Chil- 
dren's Room was christened "The 
Rabbit Hole" many years ago, an 
added serendipity! We have copies 
of Alice in English, Russian, large 
print, and Chinese (purchased 
by a staff member on her visit to 
family in mainland China last sum- 
mer! ) . Our younger patrons will 
read the Puffin editions of Alice 
and Through the Looking Glass. Jim 
Warner [an LCSNA member and 
one of the Brookine organizers] 
is lending us some of his 'wonder- 
ful' books for display and we have 
been lent realia dealing with Alice 
from paintings to tiles to note 
cards to an oilskin book bag to 
the pamphlet of philosophy de- 
partment course offerings at the 
UMass Boston campus with Alice 
on the cover! She is everywhere!" 
get/brookline-reads. [Thanks to 
Cynthia Battis, Supervisor of Collection 
Development, Brookline Library, for this 

"Dreamchild and Biblical 
Studies," a paper by 
Barrie A. Wilson, PhD, 
Humanities and Reli- 
gious Studies, York Uni- 
versity (Toronto, On- 
tario), can be read at 
Biblical_Studies.pdf. "I 
use this film in biblical 
studies to illustrate two 
key points. One has to 
do with the nature of 
artifacts of memory: 
texts, like memories are not tran- 
scripts. That is, they do not replay 
events as they actually unfolded 
but are reconstructions designed 
to meet present needs. Old Alice's 
recollections some 70 years later 
parallel the New Testament gos- 
pels some 40 to 90 years later re- 
casting the sayings and doings of 

August and Clare Imholtz spoke 
about Lewis Carroll to Prof. Heidi 
Kauffman's graduate class in Victo- 
rian Bibliography at the University 
of Delaware on March 7, 2007. 

August Imholtz gave a talk entitled 
"Best Sellers and Worst Sellers: 
Lewis Carroll's Alice Books Con- 
trasted with his Sylvie and Bruno 
Novels" at the Morgan Library in 
New York City at the 
Bibliographical Society of North 
America's "Birth of the Bestseller" 
Conference, on March 31, 2007. 

Member Elaine Mingus spoke on 
"Lewis Carroll in James Joyce" at 
the International Bloomsday cel- 
ebration at the 
University of Texas in Austin, 
June 13-16. 

The remains of a dodo (nick- 
named 'Fred' after its discoverer) 
found in a cave in Mauritius offer 
the best chance yet to learn about 
the extinct flightless bird. Details 



Wood engraver and linocut artist 
Jenny Pordock reveals the strange- 
ness and beauty of Wonderland 
and Looking-glass land in her deli- 
cate yet powerful artworks. "These 
original wood engravings are the 
first of a special new limited edition 
in which I am creating my own con- 
temporary interpretations of these 
much-loved classic stories. Hand- 
printed in rich black onto 300gsm 
Arches 88 mould-made paper, each 
print is signed and numbered (in 
an edition of 50 only) , and sup- 
plied in a presentation folder." Ten 
of the proposed series of twelve are 
now available, prices range from 
£55-£75. For further information, 
contact Jenny Portlock at The Loft, 
Rattlesden, Bury St Edmunds, 
Suffolk IP30 ORA, U.K. or by e-mail 

Some Alice graffiti/murals from a 
Moscow suburb can be viewed at 

Collectors wishing to acquire the 
Salon du Livre Jeunesse catalog of 
their 2006 exhibit (Alice in Wonder- 
land and Peter Pan; see KL 77:34) 
should send a fax to Thomas 
Faucoeur at +331 48570462 with 

The Far Side 

credit card information, etc. The 
book sells for 24.5 euros plus over- 
seas postage. (They require a fax, 
not an e-mail.) 

A group of six artists in Laramie, 
Wyoming, have undertaken a 
project to illustrate the lost chap- 
ter of Through the Looking-Glass: "A 
Wasp in a Wig." Their exhibit was 
on display in March at Second 
Story Books in Laramie and re- 
mains available online at http:// 

Lenny de Rooy, who runs a great 
Alice web site, had a competition 
in March in which all Alice in 
Wonderland fans could send in 
their own art — be it photography, 
illustrations, or stories. Entries, 
winning and otherwise, can be 
viewed at http://www.alice-in- 

Alice is featured in an online ex- 
hibit of children's book illustra- 
tions posted by the Cotsen Chil- 
dren's Library at Princeton at 
index.html, in the "Water Babies" 
and "Magic Lantern" sections. 

by Gary Larsen 

"The telomeric tale of the mouse's 

tale (after Carroll)": http://www. 




Barbara Steinman's exhibit 
(March 3-28, 2007) at Toronto's 
Olga Korper Gallery included 
several pieces of text from AATW 
in multicolored neon. Photos can 
be viewed at http://www.olga 
(click on "Steinman"). 

This photographic/soft-porno- 
graphic online comic book fea- 
tures "Mademoiselle Isa" modeling 
very short skirts and one of the 
more ridiculous rewritings of the 
Alice story: http://aliceinwonder 

A very original set of illustrations 
created as computer desktop art 
would not be amiss in a picture 
book version of AATW www.vlad 

John Vernon Lord discusses his 
work on The Hunting of the Snark 
and his upcoming AAAVand 
TTLG at http://books. guardian.,,2061349,00. 

Many illustrations for Russian 
AAfWs and TTLGs can be viewed at 
com/kidpix/319872.html and -oldbooksyoung 

Wonderland inspires fashions both 

high end and homegrown: http:// 

aspx#id=108&type=story and 



AATW-themed Adobe Photoshop 
"brushes" and "rub-ons" are avail- 
able at Tartx's blog: http:// 

Unbeknownst to most ornithologists, the dodo 

was actually a very advanced species, living alone 

quite peacefully until, in the 17th century, it was 

annihilated by men. rats, and dogs. As usual. 


Doll Reader magazine's web site 
spotlights Ruth Treffeisen's de- 
tailed and delicate porcelain 
"Wonderland" dolls: http://www. php?id=62 

Cream Magazine (Hong Kong) has 
released a "Dear Alice" edition, 
featuring very cool artwork and 
pop-ups. It was available at mu- 
seum bookshops throughout the 
U.S.; a list of them can be found at 
the Juxtapoz magazine site 

The exhibit Jess: To and From the 
Printed Page showcased the work of 
San Francisco-based visual artist 
Jess (1923-2004), and includes 
Mort and Marge: Translation #26 
(1971, oil on canvas, owned by 
the Odyssia Gallery of New York) , 
a painting based on Arthur B. 
Frost's illustrations of Lewis Car- 
roll's poem "The Three Voices." 
The exhibit was at the San Jose 
Museum of Art through June 10th: 

Illustrator Michal Dutkiewicz's 
soft-core images of a naked, adult 
Alice sharing a hookah with a blue 
caterpillar can be seen in his Girls: 
From Line to Color (SQP Publica- 
tions, 2007). 


The January 2007 issue of The Lion 
and the Unicorn, Vol. 31, No. 1, has 
an article entitled "'Sweet Sorrow': 
The Universal Theme of Separa- 
tion in Folklore and Children's 
Literature," by Laura Raidonis 
Bates, pp. 48-64. She compares 
three fairy tales and three clas- 
sics of children's literature. The 
three classics are Alice's Adventures 
in Wonderland, Peter Pan, and The 
Wizard of Oz. 

Seen the latest Scientific American} 
On pp. 102-3, Martin Gardner 
reviews Ian Stewart's Wfiy Beauty Is 
Truth: A History of Symmetry, and 
even ends with a quotation from 

The Hunting of the Snark (you can 
probably guess the passage) . 

Gettysburg Review 19.4 Winter 2006, 
has an essay by William Jay Smith, 
who was a Stan Marx Memorial 
Lecturer at the LCSNA meeting in 
Austin a few years back. The essay, 
based on that lecture, is entitled 
"Lewis Carroll, the Poet." Smith 
focuses on three humorous 
poems — "Father William," "Jabber- 
wocky," and "The Aged, Aged 
Man" — and briefly discusses 
the Snark. 

The Wildean (No. 30, January 
2007), the journal of the Oscar 
Wilde Society, has a short article 
by Ralph Stewart comparing TTLG 
to Wilde's "The Importance of 
Being Earnest," noting that char- 
acters in Wilde's play use words in 
an eccentric fashion, like Humpty 
Dumpty, and that there are what 
Stewart calls "reversals" in the plot. 
All in all, it's a very weak attempt 
to draw parallels between the two 

The Spring 2007 issue of Illustra- 
tion Magazine has an image of 
Mervyn Peake's Alice on the front 
cover. The article is about Peake, 
not Carroll, but includes some 
references to his work on Alice. 
See http://www.illustration-mag. 
com/mag_detail.php?id=l 1 . 

New Statesman (19 March, 2007, p. 
49) includes a report on the liter- 
ary competition Belles Lettres, No. 
3969. Competitors were asked for 
an extract from a book with one 
letter missing from the title in the 
style of the original, for example, 
Of Ice and Men, Lady Chatterley's 
Over, 984. David Silverman, a run- 
ner-up, won £10 for Lice in Wonder- 
land. "'Off with her head,' cried 
the nit nurse..." 

Alice in Retail Wonderland: 'The 
ever-curious Alice asked, 'What 
happened to all of those billions 
of dollars in gift cards that were 
the rationale for the weak Decem- 
ber? Why would good weather, 
unseasonably warm winter 

weather, 60 degrees in the North- 
east weather, prevent those gift 
card recipients from spending 
their booty?'" See http://retail. 

Connotations: A Journal for Critical 
Debate (volume 14, 2004-2005) 
includes "'Alice was not surprised': 
(Un) Surprises in Lewis Carroll's 
Alice Books," by Angelika Zirker. 
connotations/zirkerl 41 3.htm. 

The Moscow Times (March 9, 2007) 
has an article, "Alice's New Adven- 
tures," on the strange story of how 
Alice-was reintroduced to 1960s 
Russia by way of Nina Demurova's 
translation and a Bulgarian pub- 
lisher. See http://context.themos- 

The January 22, 2007, issue of the 
New Yorker has an article by Ian 
Parker, entitled "Letter from Mau- 
ritius: Digging for Dodos, Hunting 
an Extinct Bird," worth reading 
especially for the history of the 
dodo and European fascination 
with it. Not that curiosity about 
dodos is limited to Europe! How- 
ard Waldrop's classic science fic- 
tion story, "The Ugly Chickens," in 
which dodos are discovered to 
have lived in rural Mississippi, has 
just been republished in Things 
Will Never Be the Same: A Howard 
Waldrop Reader, Selected Short Fiction, 
1980-2005 (Old Earth, 2007). The 
story, which in 1981 won a World 
Fantasy Award and was nominated 
for a Hugo, is also available online 

The Halcyon, the newsletter of the 
Friends of the Thomas Fisher Rare 
Book Library at the University of 
Toronto, December 2006, offers 
an informative illustrated account 
of parodies in the Joseph Brabant 
Lewis Carroll Collection, written 
by indefatigable Brabant cataloger 
Mary Garvie Yohn. The article is 
online at http://www.library. 


The Shreveport Times 's article "Fi- 
nancial Fundamentals: Fiscal 
literacy remains a significant ob- 
stacle for women" (February 20), 
states, "In an effort to provide 
insight into women and their at- 
titudes about money and invest- 
ing, Allianz Life Insurance Com- 
pany of North America prepared 
the landmark study 'Women, 
Money & Power.' The research 
found that most women will fit 
into one of five money personali- 
ties: Cinderella, Alice in Wonder- 
land, Wonder Woman, Belle and 
Goldilocks... Those who avoid 
being financially responsible, are 
bewildered by all the choices avail- 
able to them, and want someone 
to take them by the hand and 
guide them through the financial 
maze resemble Alice in Wonder- 
land." Are we talking about the same 

Math Horizons (November 2006) , 
a publication of the Mathematical 
Association of America, includes 
"A Conversation with Lewis Car- 
roll," by Ezra Brown, and "Lewis 
Carroll's Condensation Method 
for Evaluating Determinants," by 
Adrian Rice and Eve Torrence 
(also printed in The College Math- 
ematics Journal, March 2007) . Fur- 
ther discussion of Dodgson's 
method for computing the deter- 
minant of a square matrix is on- 
line at Ivar Peterson's "The Math- 
ematical Tourist" column (March 
19, 2007) at 
07.html. "When teaching linear 
algebra, we have consistently 
found Dodgson's method to be 
the most popular method among 
our students for evaluating deter- 

The San Jose Mercury News's special 
commemorative section celebrat- 
ing San Jose State University's 
150th anniversary (April 29, 2007) 
includes Mary Blair, the animation 
designer for Disney's Alice, among 
"alumni remembered for their 
contribution to the arts." See 

The Arizona Republic newspaper 
(February 24, 2007) discusses the 
origins of the name of the Boojum 
tree, native to Mexico and the 
American Southwest, at http:// 

Associated Press (February 14, 
2007): "Cross-dressing lawyer 
hangs up his [Alice] dress." What 
more is there to say? See http:// 


Diamond International Galler- 
ies' auction houses Morphy's and 
Hake's teamed up to produce 
a colorful 1 ,200-lot auction of 
antique toys, Disneyana, and ad- 
vertising/general store antiques 
February 15-17 at the Burbank 
Marriott. . . . The top lot within 
the category was the 10-inch by 
4%-inch color concept art for the 
1951 Disney production Alice in 
Wonderland. The depiction of Alice 
at the "unbirthday" table with the 
Mad Hatter and March Hare was 
created by beloved Disney artist 
Mary Blair (1911-1978), and sold 
for $11,500. 


The Looking Glass Wars, by Frank 
Beddor, has won a 2006 Cuffie 
award from Publishers Weekly, Janu- 
ary 22, 2007. For the annual "Off 
the Cuff awards, children's book- 
sellers chose their favorite (and 
not-so-favorite) books of the year 
in a variety of categories. The Look- 
ing Glass Wars was deemed "Most 
Disappointing Book (in Terms of 
Sales)." The comment on it was, 
"we liked it, but it just didn't sell." 

The Adventures in Wonderland: 
Dream Journal from Clarkson Pot- 
ter ($13) is based on Linda Sun- 
shine's All Things Alice (KL 74:38- 
40), with additional materials. 

Thomas Kelley's book The Ten 
Faces of Innovation: IDEO's Strategies 
for Defeating the Devil's Advocate and 
Driving Creativity Throughout Your 
Organization (Currency, 2005) 
discusses the "Red Queen Effect," 
whereby "running as fast as you 
can," that is, being an innovator, is 
not enough to get somewhere. 
Rather, a company's pace of inno- 
vation must exceed that of their 

Blogger Harry McCracken 
describes an Altemus Through the 
Looking Glass, which he found in 
"Google Books," noticing that it 
has "an oddball cover in which 
Alice has short hair and seems to 
be in the midst of being threat- 
ened by a Brittany Spaniel." Mc- 
Cracken, looking at an online 
image, notes some of the book's 
unique characteristics, just the 
sorts of things that bibliophiles 
ordinarily wax ecstatic about when 
examining a physical copy of the 
book (perhaps one purchased on 
eBay and just arrived) — a personal 
ownership signature, the Univer- 
sity of Michigan ownership stamp, 
and the fact that the book has not 
one but two pictures of Alice 
going through the mirror, 
Tenniel's and a frontispiece after 
Tenniel by an unidentified artist. 
Unfortunately, each of the four 
online images in the blog has a 
Google label superimposed in the 
bottom right-hand corner, while 
the lovely cover image is marred 
by a prominent numerical label, 
presumably a relic of the Google 
scanning process. A recent search 
of "Google Books" failed to bring 
up this particular copy (perhaps 
due to the writer's unwillingness to 
scan some 1,700 hits). 

Picturing Children: Constructions of 
Childhood Between Rousseau and 
Freud, edited by Marilyn R. Brown 
(Ashgate, 2002), includes an essay 
by Diane Waggoner, entitled "Pho- 
tographing Childhood: Lewis 
Carroll and Alice." Reviewer David 


O'Brien, writing in Nineteenth Cen- 
tury Art Worldwide (Autumn 2003), 
believes Waggoner offers a fresh 
reading of Carroll's pictures of the 
Liddell sisters. "According to Wag- 
goner, the distinctive aspect of 
Carroll's images lies in his ability 
to get children to perform their 
expected roles, and to call atten- 
tion to his own role in staging the 
performance." Waggoner gave a 
talk on Carroll's photographs of 
boys at our Spring 2006 meeting. 

Into the Looking Glass (Baen Books, 
2005) and Vorpal Blade (Baen 
Books, Sept 2007), by John Ringo 
and Travis Traylor, are "hard" sci-fi 
adventure books of nasty aliens 
invading earth and human beings 
defending it, with little or no con- 
nection to Carrollian topics. 

The Symmetry of Chaos: Alice in the 
Land of Mirrors (Oxford University 
Press, March 2007), the new book 
by Robert Gilmore and Christophe 
Letellier, presents a definitive 
account of this branch of dynami- 
cal systems theory. 

Key Princess Story s: Eternal Alice 
Rondo (Kagihime Monogatari Eikyu 
Alice Rondo), vols. 1-4, Kaishaku, 
DGN Productions/DrMaster Pub- 
lications: "Aruto Rirhara is a stu- 
dent who spends his free time 
reading the book about ALICE, 
and is even writing his own sequel. 
After meeting a girl who bears a 
striking resemblance to his hero- 
ine, he is pulled into a world 
where girls with strange powers 
and bunny ears battle to recover 
the true sequel, which has been 
lost for generations. What Aruto 
learns is that he has creative pow- 
ers of his own, and he must use 
them to recover the lost book." 
But buyer beware, one blogger 
comments that this would be a 
great manga for preteen girls if it 
weren't for the recurring incest 
themes! See http://www.drmaster- .html. 

Return to Wonderland #0 (May 
2007), by writer Raven Gregory 
and artist Richard Bonk of Zene- 
scope Entertainment, is another 
comic for adults (or at least very 
grown-up teens) . The story focuses 
on Alice's daughter Calie's (short 
for Carroll) journey to Wonder- 
land after what appears to be her 
mother's insanity and suicide at- 
tempt. Yet somehow, lots of cleav- 
age is involved. Sample pages can 
be viewed and books purchased at 
pages/wl.htm or at your local 
comic retailer. 

Lists! AA/Wwas number 10 on 
OCLC Research's 2005 list of the 
top 1 ,000 titles owned by member 
libraries ( 
research/top 1000/ default, htm) 
and number 29 of the Guardian's 
"100 Books You Can't Live With- 
out" (March 1, 2007, http:// 
books. guardian. co. uk/news/ar- 
ticles/0„2023967,00.html) . 

"Alice in Academe" and Other Stories 
by Joe Wessling, with illustrations 
by Holly Schapker, RLT Communi- 
cations. According to the back of 
the book, "Alice, now a young 
woman, reappears (don't ask how) 
as a doctoral student in English at 
a major American university and 
experiences a new kind of wonder- 
land with many echoes of the first 
Wonderland. The foibles of aca- 
deme prove frustrating but also 
delicious. Wessling's muse is never 
meanspirited. There are no vil- 
lains and few heroes, but this 
writer, like Chekhov, 'could not 
resist the clowns,' who are in these 
pages, not to be despised, but to 
be enjoyed. If you are a member 
of the university scene — adminis- 
trator, faculty, or student — this 
book will strike home again and 
again. But this is not a book only 
for the in-crowd. Whoever you are, 
whatever your background, just 
bring to these stories your sense of 
absurdity. It will serve you well." 

The Art of Wendy Froud (Imaginosis, 
2006) showcases her fantasy sculp- 
tures, including one of Alice. 

A rare copy of a 1970s-era, Quebe- 
quois Les aventures d Alice au pays 
des merveilles, signed by the artist 
and translator, is for sale by Fran- 
cois Cote. Contact him at http:// 

Kitty Burns Florey's book Sister 
Bernadette's Barking Dog: The Quirky 
History and Lost Art of Diagramming 
Sentences (Melville House Publish- 
ing, Hoboken, NJ, 2006) includes 
a diagram of the first two lines of 
"Jabberwocky." In the book, she 
states, "Lewis Carroll's famously 
nonsensical Jabberwocky' is also 
eminently diagrammable (and 
really fun to do) , but the diagrams 
don't explicate it. Fortunately, 
Carroll does that for us in chapter 
VI of Through the Looking Glass. But 
knowing that brillig means 4:00 in 
the afternoon and that toves live 
on cheese and are something like 
badgers, something like lizards, 
and something like corkscrews, 
only increases its nonsensicalness." 

From Sister 

Bernadette's Barking Dog: The Quirky 
History and Lost Art of Diagramming 
Sentences © 2006 by Kitty Burns Florey. 
Published by Melville House. 



One can now visit Wonderland in 
several places online. At http://, the "Giant 
Mushroom Garden Background" 
(available under Extras/Fantasy 
& History) is obviously a nod 
to Lewis Carroll, complete with 
caterpillar and giant flowers. 
There are also several scenes from 
AAIW re-created in Second Life 
Kula%201/235/ 121/22/ (free 
subscription and download re- 

Speaking of Second Life, "The 
Digital Generation, Second Life, 
and the Singularity (aka 'The 
Revenge of the Oysters')," a pre- 
sentation covering the digital revo- 
lution and the direction of things 
to come, can be viewed at 

An online variation of "Doublets" 
Simple Doublet Game/launch/ 
start.html) gives hints and word 
definitions along the way But if 
you click on a made-up word, be- 
ware thejabberwock (particularly 
as it looks like Freddy Kruger) ! 

"Having premiered on YouTube 
to thousands of viewings almost 
immediately, 'Alice In Wonderland - 
The Video by Randell & Schippers 
(Music Avenue Records) is proving 
to have the same infectious appeal 
as the song's audio version, a re- 
cent dance chart hit and recurrent 
club favorite. . . . The song tells the 
tale of Alice, a sweet, cloistered 
young woman ejected from 'Won- 
derland' when her daddy's credit 
goes south and she's forced down 
to earth to earn her own way for 
the first time in her life. Initially, 
she's accosted by the unsavory Jive 
Turkey, then rescued by the Do 
Good Stranger, with whom she 
rides off on a unicorn, and then 
the 50-cent 'Love Bus,' to her new- 
found earthly wonderland." (April 
2, PRNewswire) See 

In computer programming, an 
opaque pointer is a datatype that 
hides its internal implementation 
using a pointer. This allows the 
implementation of the whole in- 
terface to change without the 
need to recompile the modules 
using it. This technique is some- 
times referred to as "Cheshire 
Cat," especially among the C++ 
community. See http://en.wikipe- 

This web page discusses the compli- 
cations of setting up "The Mouse's 
Tale" online in various languages 
using HTML: http://www.home. 

Alice is Lost! Eric Harshbarger has a 
mysterious new project. While there 
is only a bit of "teaser" material avail- 
able at the moment, this website 
( will soon be a 
Afe-themed "mystery of puzzles", 
"an experience for Carrollians as 
well as puzzle fanatics." 



Is Disney making an A lice sequel? 
According to 
(March 21, 2007), a number of 
Internet domains were registered 
recently that include the words 
"Alice" or "Through the Looking 
Glass." Variety (April 15, 2007) says 
Lion King writer Linda Woolverton 
is writing the screenplay blending 
live action and CGI for Revolution 

A search on YouTube for "Alice in 
Wonderland" returns a wide variety 
of clips, not just from the various 
Alice movies old and new, home 
movies of the Disneyland ride, and 
music videos, but also Betty Boop 
cartoons, Brooke Shields on the 
Muppet Show, and old Jello and 
Rexall commercials. See www. (Thanks to Monica 
Edingers blog "Educating Alice" at 
http: / / medinger. wordpress. com. ) 

David Lynch 's Inland Empire 
(2006), while not directly refer- 
encing Alice, has had many com- 

parisons to it by critics. 'You could 
say that Laura Dern embodies a 
modern version of Alice in Won- 
derland, since for most of the 
picture she opens closed doors, 
plunges into holes inside holes, 
and walks in endlessly long, darkly 
lit corridors" (Emanuel Levy,, undated). "It 
could be that these (brown) rab- 
bits are reminders of the White 
Rabbit in Alice in Wonderland, 
taking Alice down the hole into 
bizarre lands. With the strange 
and terrifying occurrences, the low 
ceilings and the non sequiturs, 
there's more than a whiff of a 
threatening Wonderland" (Jay 
Weissberg, Variety, September 6, 
2006). "Or maybe Lynch is just 
batty, and, like the Mad Hatter 
throwing his tea party in Alice in 
Wonderland, he wants everyone 
else to join in the insanity" (Peter 
Suderman, National Review, Janu- 
ary 19, 2007). 

"Black Moon (1974, France): 
[Louis] Malle's weird surrealist 
fantasy updates Alice in Wonderland 
into a future society where men 
and women are engaged in deadly 
combat, seemingly coexistent with 
an alternative comradeship of 
talking rats and enchanted uni- 
corns. Malle offers no explanation 
for his heroine's visionary odyssey 
through a world in which all his- 
tory runs parallel with all realities. 
Yet a logic is there, even if its refer- 
ence point is jabberwocky." — Time 
Out Film Guide 13. 

In conjunction with the "Platinum 
Edition" DVD of Disney's Peter Pan, 
Kathryn Beaumont (the voice of 
Wendy and Alice) was interviewed 
on several movie web sites. As the 
two movies were filmed back to 
back, she has as much to say about 
. Mice as she does about Peter Pan. 
php?ID=15707; http:// 
1 7901 .php; 


The Sunderland (U.K.) Arts Coun- 
cil has granted a lottery award for a 
surreal film by Washington Youth 
Theatre inspired by AATW. Treacle 
Well will "explore teenagehood, 
adolescence, self-doubt and self 
identity." See www.sunderlandto- articleid=2860 1 08. 

"Big Top," an episode of USA 
Network's The Dead Zone on July 8 
was set in an amusement part wit 
an Alice in Wonderland theme. 


The world premiere of the cham- 
ber orchestra version of David Del 
Tredici's Final Alice, an evening- 
length work for soprano based on 
Alice in Wonderland, arranged and 
conducted by Alexander Piatt with 
the Maverick Chamber Players and 
soprano Patrice Michaels, will take 
place at the Maverick Concert Hall 
in Woodstock, New York, on Septem- 
ber 1. 

A slightly hopped-up Tweedledum 
and totally demented Tweedledee 
(or vice versa) appear on the cover 
of the Jazz Stompers' CD Bipolar 
Jazz. Order from http://www.msdi- 


Dancing Wheels, the first modern 
dance company to integrate pro- 
fessional stand-up and sit-down 
(wheelchair) dancers, premiered 
their story ballet Alice in Wonder- 
land on April 28. "Sassy and viva- 
cious choreography created by 
Robert Wesner and a hit list of hot 
DJ music will have you dancing in 
your seats!" Further information at 

Tales & Scales, "the nation's only 
'musictelling' ensemble," is cur- 
rently touring with Jabberxvocky. 
"The opening words of Lewis Car- 
roll's whimsical poem may not 
make much sense, but our latest 
musictale makes them all clear. 
Part puzzle, part adventure, part 
frumious fable, Jabberwocky brings 
to life the mythical battle with a 

whiffling monster. In one vorpal 
swirl of rhymes and rhythms, the 
tale is told from three completely 
different perspectives." Schedule 
information and videos at www. or call 800-644- 

Fort Lauderdales's Sol Theatre 
( presented 
Alice Does Wonderland in February. 
The title pretty much says it all. 

Gary Bachlund, who, along with 
his wife Marilyn Barnett, wrote a 
lovely opera based on the Alice 
books (see KLs 60:18, 66:17-19, 
and 70:17), has posted a fine 
website about it at www.bachlund. 
org/ Alice, htm. 

Unsuk Chin's long-awaited "Alice 
in Wonderland" opera had its 
world premiere on June 30, 2007 
in Munich, performed by the 
Bavarian State Opera. For further 
info, please visit www.bayerische. 

Alice in Oblivion, a Dawson College 
(Montreal) student-created and 
-performed production, was cre- 
ated in reaction to the shootings 
that took place on the Dawson 
campus last September. Performed 
on May 12, the show incorporated 
dramatic sequences, video clips, a 
PowerPoint presentation, and 
even breakdancing to explore the 
students' reactions to the shoot- 
ings, the subsequent media feed- 
ing frenzy, and the well-meaning 
but useless psychologists brought 
in to help. The video clips are 
available on by 
searching for "Alice in Oblivion." 

The Kennedy Center presented 
two Alice-themed productions 
recently. Alex in Wonderland, writ- 
ten, choreographed, and directed 
by Debbie Allen, is "a lively inter- 
pretation of Alice in Wonderland 
from a modern-day boy's point of 
view! After falling asleep in the 
town's library, a young man 

named Alex embarks on a journey 
with characters from such fairy 
tales as Cinderella, Little Red 
Riding Hood, and Lewis Carroll's 
classic story." Alice (adapted for the 
stage by Kim Hines) is billed as 
follows: "So you think being rich 
will get you a giant house, fun 
times, and lots of great friends? 
Smart and sassy young Alice be- 
lieves it will, so when she wins a 
mysterious sweepstakes, there's no 
time to lose to claim her prize! 
With her two best friends in tow — 
a white rabbit who's, well, kind of 
invisible, and a card-playing nerd 
who has a thing for hats — Alice 
heads into the topsy-turvy neon 
wonderland of the Big City in a 
race against the clock in this adap- 
tation of Whoopi Goldberg's chil- 
dren's book." www.kennedy-center. 

Alice in Wonderland: a Dance Fantasy 
(Children's Cultural Collection, 
April 2007) is now available on 
DVD. "Lewis Carroll's bewitching, 
playful and eccentric tale has cap- 
tured the world's imagination and 
fascinated children for over 125 
years. Now Alice, the Cheshire 
Cat, the Mad Hatter and the 
Queen of Hearts come to life as 
never before in this unique ballet 
adaptation that is every bit as origi- 
nal as the story itself. A magnifi- 
cent array of costumes, colors and 
sets create a Wonderland of kalei- 
doscopic beauty. The interweaving 
of ballet, mime, acrobatics and 
theater gracefully dramatizes the 
story. With the mesmerizing music 
of Viktor Kalabis, flawlessly per- 
formed by the Czech Philhar- 
monic Orchestra and danced by 
the The Prague Chamber Ballet, 
this production creates an unpar- 
alleled DVD presentation that will 
undoubtedly delight the whole 

"More than 140 years since her 
great-great-great aunt [Alice 
Liddell] provided the inspiration 
for the original Alice in Wonderland, 
Rachel Arskey plays the part in the 


latest production by Dundee Uni- 
versity's Lip Theatre Company. ... 
Arksey, who is a second-year Ana- 
tomical Sciences student, is de- 
lighted to be playing the part that 
was inspired by her relative, say- 
ing, 'I'm really excited to be play- 
ing a role that has a personal con- 
nection to me. I don't think many 
other actresses get a chance to 
play characters actually inspired by 
their [ancestors].'" (University of 
Dundee press release, March 5, 


In early February, vandals dam- 
aged historic Holy Trinity church 
in Wear, Sunderland, England, 
where Lewis Carroll was a regular 
visitor and his sister, Mary, was 
married to the rector. See http:// 

Where Wonderland is your des- 
tiny: In Annie Liebowitz's series 
of ads for Disney Parks, "Singer/ 
songwriter and actress Beyonce 
Knowles portrays Alice from the 
classic tale, "Alice in Wonderland." 
Joined by actor Oliver Piatt as The 
Mad Hatter and singer/songwriter 
Lyle Lovett as The March Hare, 
they all take a wild spin in a whirl- 
ing, giant teacup." See http://hol- 

Alice's Tea Cup, a member-favorite 
New York City teashop, opened 
Alice's Tea Cup, Chapter Three, 
shortly before the Spring LCSNA 
meeting on April 14. The 220 East 
81st Street location joins flagship 
shop Chapter One at 102 West 
73rd Street and Chapter Two at 
156 East 64th Street. Reservations 
can be made for all three at 212- 
734-4TEA. The menu can be 
viewed and teas and gifts pur- 
chased at 

The Orrery Cafe, found at 15 
Union Street, Ryde, Isle of Wight, 
UK, is lit by a celestial globe, hang- 
ing from the pole star in the cen- 
ter of the ceiling, surrounded by 
the major planets of our solar 
system (including Pluto). The 
celestially muraled walls feature, 
instead of traditional figures for 
the 12 zodiac signs, the characters 
from AAIW and TTLG, based on 
the Greaves 8c Thomas theory that 
Lewis Carroll used the known 
constellations of the heavens as 
reference for his Alice books (see 
KL 67). See http://www.theorrery. 

When visiting the Illoiha "de- 
signer" gym in Japan, rather than 
be faced with a wall full of knobby 
fake rocks, you'll have the chal- 
lenge of scaling a wall using pic- 
ture frames, flower pots, mirrors 
(of course!), and deer antlers. See (An- 
other picture can be seen at 

You may not be able to get every- 
thing you want, but you can visit 
the Alice Cafe in Tokyo's Ginza- 
dori district. "Alice's the labyrinth 
of fantasy dining [is] based on 
'Alice in the wonderland' and 
'Gothic & Lolita' as a concept." 
Plus they serve more than 100 
kinds of cocktails! See http://www. 
htm. Photos and one blogger's 
experience can be found at 

A singular lack of imagination... 
The Inn of Imagination of Napa, 
California, is now called the Gor- 
don House. The Inn included a 
"C.L. Dodgson" room, described 
in KL 69 as "striped in rich purples 
and featuring a brass and wood 
bed made in 1867 and matching 
armoire . . . [the] bedding is velvet 
and satin with matching window 
shades. The private bath 
capture [d] Alice's descent into the 
rabbit hole." But, according to the 
Napa Valley Register newspaper, 
things have changed. "The formal 
dining room, now painted in 
muted shades of tan, once sported 
a full wall mural.... The current 
owners have kept some of the 
artistic touches while transforming 
the balance of the rooms with 
more traditional looks." See